And The Hits Just Keep On Comin'

2012-01-15T11:40:00.000-08:00

Album Review:
EASTBOROUGH - YOUR PLACE
(Released Sept. 23, 2011)

The musical landscape is dramatically changing and Stefani Guzman, and her musical project of Eastborough, are living proof of that truth. With one EP, a single and now, finally, one full-length album spanning back to 2006, Eastborough have done things the way most musicians do things, now; when they can and on the side of everything else.

As an Ottawa-based band that received some acclaim from Chart Attack and Live 88.5 back in ’06, things were pumping along for Eastborough with the release of their EP ‘S/T’. In 2009, however, Stefani felt the need to pack up and move, while forming a new band and giving her music a go in big smoke of Toronto. After a lot of waiting and wondering, ‘Your Place’ just might be the fruits of a hard-earned labour.

‘Shuffle and Slide’ kicks off the record with a dancey, pluck-rhythmic melody that skips along sidewalks and careens along with a happy spirit. Guzman repeats the words ‘I don’t care/I don’t know because I’m letting go’ over and over with a cool, carefree tone. One of the strongest tracks of the record, though, is the third song ‘Absent President’ that bolsters the listener forward on a soundscape of strong-strumming acoustic guitars and a speeding drumbeat. The line ‘the sun always shines through the shadows of the ones we’ve lost’ seems to remind Guzman of a memory that keeps her going.

Guzman’s vocals are strong and often layered to perfection – not to the point of overkill but just on the threshold of making a listening audience sit up and stick their ears closer to the speaker. ‘Your Place’ has a good sonic variety, pumping out strong, break-neck electro-rock at times and hanging back with soulful folksiness at others (with mellow moments like the acoustic/cello-based ‘When You Ask’).

Though it’s a little low on theme or lyrical depth at times, ‘Your Place’ is a record that will boost your spirits on a solemn Sunday afternoon. Eastborough are the watermark of a strong songwriter and a strong musical troupe who have not let years between projects weaken their attack. As only the third major release from Eastborough, it’s obvious that Guzman and crew are on to something promising, here.

2012-01-10T22:42:00.000-08:00

Good To Write

In a Super Friendz song from ages past, the words candor and careen in the chorus: 'It's good to feel like - It's good to feel liked' over and over again, in a pulsating fashion.

We are nothing if we are not constantly desiring the approval and admiration of others.

We want to be original but we can't exist without the admonished view of our peers.

I can't dismiss this year. It has been an adventure every step of the way. Here I am - in early January - waxing and waning about the year I've had.

Tonight, I walked home in a wack of snow. Snow and ice. It pervaded every step. It took over every notion of coldness and made my bones wreak of fragility. It made me human, that coldness. It made me 'me'.

Why do we write? Who do we think that we are? Why do we rival those who do it as well as we do (if not better)?

I remember the day that 9/11 happened. I was working for my dad's friend Tim in a lumber yard outside of Manotick.

Reports kept coming in that a massive airplane had hit a building in New York. I didn't believe it. My friend Joel worked with me that day and had the same sense of disbelief. A francophone worker refused to climb up the wood chip dispensation machine ladder because he feared for his life. It was comical, but I didn't get it.

Being Canadian, I didn't get it.

I'm watching Season 1 of Rescue Me and now, I get it. I see the things that I missed before. I see the things that I clearly ignored.

I see the signs that we forewarned and ignored.

I see a world that is bored.

2012-01-02T10:54:00.000-08:00

Interview with Jon Lajoie
by Matt McKechnie

(originally published at webcitybeat.com)

Sometimes known to his fans as the physically awkward but incredibly crass rapper MC Vagina, Jon Lajoie was firing on all comedic cylinders at the Bronson Centre on Wednesday November the 9th.

The Montreal-born comedian is currently embarking an Ontario-wide tour and stopped in the nation’s capital for some mid-week punchlines. Lajoie’s act combined some normal stand-up along with some lively but deadpan songs, including his massive internet chart-topper Everyday Normal Guy.

After recently landing a role on the FX network comedy sitcom The League, Lajoie re-located to California as a career move, and to sharpen his acting chops, but he still has a deep affection for his native country.

“I live there a lot most of the year. If it was up to me, though, I wouldn’t stay there.

It’s for the work. For show biz, everything’s there. I lucked out. I landed a role on The League. It was pretty lucky. The producers kinda saw me and said ‘Hey – let’s grab this guy,” said Lajoie.

Lajoie gained a substantial amount of success through YouTube as he began making off-beat comedy videos and character-based skits in 2007. Since then, his following has become somewhat cult-like as his zany and inventively coarse humour has caught many eyes.

The show featured an array of caricatures as he began as MC Vagina – a Hawaiian shirt and khaki shorts wearing, machine-gun toting rapper who is socially awkward but incredibly forward in a sexual sense. Thrusting his pelvis in a robotic fashion, while repeating the chorus ‘show me your genitals – your genitals’, Lajoie had the audience laughing and unable to look away from the get go.
Lajoie even conversed with the crowd and sang a birthday song to a few audience members who coyly admitted that it was.

One of the most interesting segments of the night happened when Lajoie launched into a phony business-based seminar entitled ‘How To Act Good’. The presentation explained, in a farcical sense, how to get famous in Hollywood. Citing various acting techniques of iconic figures like Bruce Willis (who, according to Lajoie, acts his best due to a shaved head and carrying a gun), Lajoie made light of an industry that takes itself a little too seriously. Lajoie’s cynical but often underhandedly witty delivery shows that he definitely has an intelligent side underneath all of the silly crudity.

Overall, Lajoie is an interesting enigma of a modern comedian who can sing, rap and deliver standard jokes when he needs to do so. Although he has gained some notoriety in Tinseltown, Lajoie’s first love is making videos for the internet; something he insists that he will never give up.

“If I wasn’t on that show, living in L.A., I hate auditioning and I hate the city. I mean I love the weather and I love working when I have work. But if I wasn’t working on the show, I’d just be making online videos and recording my own music. I work on The League and I live there because of it and if that ends and nothing else comes out of it, I’ll be happy to move back,” says Lajoie.

2011-12-07T06:39:00.000-08:00

Album Review:
DEATH CAB FOR CUTIE - CODES AND KEYS
(Released May 31, 2011)

I've read the reviews on Codes and Keys and for the most part, it seemed like the public were sort of 'enh' in their response to this record - but I think that's because it's an album with layers that takes some precise digging and a bit of guesswork. In this day and age of spoon fed multimedia, DCFC has put out a record that truly makes the listener stick an ear to the speaker for a closer review and get lost in the cavalcade of sound.

(Yeah, yeah - Pitchfork didn't like it. They stabbed a snooty, self-applauding jab about Chris Walla citing Brian Eno as an influence. High-brow. Par for the Pitchfork course. Big deal. I'm tired of talking about them and I'm tired of the countless flippy-haired, 22 year olds who inundate that dreck-rag. I just felt like mentioning their feckless agenda one last time.)

As children, we have no problem losing ourselves in wonder and magic. We run and we play and then we run and play some more. To truly understand this album, it seems like Gibbard is telling us to take a step backward from our busy schedules and the monetization of our minds and to just accept the silly reality of who we really are. 'Home Is A Fire' starts with a bit of an echo dreamscape, in the sense that that the far-away keyboards and synths really paint a mental image of something startling and comforting at the same time:
'Sleep, Sleep with the lights on / Shutter the shades drawn
There's too many windows...
Home, Home is a fire / A burning reminder of where we belong, oh'

The memory kaleidoscope of imagery continues as the synth-heavy album ramps up in its delivery. The lock-step tempo of Doors Unlocked And Open throttles ahead without apology. The song deals with leaving the world of the fast-paced, non-fiction and swimming into a world beyond time. The line 'in the ocean of sound, we'll live in slow motion' repeats in a vocal-effect ridden chorus. The hit single 'You Are A Tourist' continues on that bent in a more adult-like fashion as the main guitar riff seems to motion the listener on an upward rocket-ride towards the stratosphere, telling us that we can always gain a new viewpoint if we feel constrained.

Fret not though, DCFC fans - you'll still hear plenty of token, bright guitar riffs, careening drumbeats and boyish Gibbard vocals. You'll just experience them in a totally different framework.

In essence, Codes And Keys is an album about the layers and grids that lie behind everything we do. Our understanding of time and existence, in the sense of home and family, is something that DCFC challenges on this record with an innocent, escapist view of a jaded universe. Gibbard, Walla and company have left their poppy roots and have put out something that truly takes a few brave listens to 'get'. You might have to leave your pop-ridden, adult mind behind - and you might just like what you see and hear.

2011-08-18T10:14:00.000-07:00

Album Review:
JOEL PLASKETT -EMERGENCYs, false alarms, shipwrecks, castaways, fragile creatures, special features, demons and demonstrations.
(Released June 14, 2011)

When some artists strain to fill an order of a 10 song album, after a steady diet of 5 song EP's, Joel Plaskett delivers a 5 course meal (with several amuse-bouches and disgestifs) to fill the listener's song-belly to overflow. Mining out some long-hidden treasures and compilation gems, Plaskett's ability to pan through the caverns of his own work, and make dusty trinkets into collector's items, is utterly soul-stirring. After punching out the time-card at 20 tracks, there's no way that anyone can accuse this man of under-contributing.

Although some of these tracks have been available before ('On The Rail' and a cover of Irma Thomas' 'Hurt's All Gone'), they are no less relevant as they are now all accessible to fans in the same location. In fact, for fans of Plaskett and The Emergency's live show, the track order of this album is fairly comparable to a lot of their set lists. I was pleasantly surprised with a fuzzed-up, buzzed-up version of 'Make A Little Noise' that gives this song a little 'umph' which the original version lacked. 'When I Go' is another unexpected but beautiful, strummy b-side from Three that features the lovely vocal licks of Rose Cousins and Anna Egge. Other than 'Money In The Bank' (which is a little laborious and overly garaged at times), all of the songs on this record are listenable, likeable and deliver exactly what your favourite band delivers every time you see them live; they bring old songs back to life.

Plaskett is making himself into something of a pioneer in the Canadian music scene as he is unafraid of the caterwauling of the critics. 27 songs are too many for an album? Poppycock. A b-side record of 20 tracks is overdoing it? Hogwash. Time and time again, his sometimes-twangy-but-always-rockin' register of songs demonstrates his love for his country and his keen, wordsmithy and ever-wet songwriting pen. 'Emergencys...' shows us more of the same but it also illuminates the ability of a true artist to give old canvases a new coat of paint.

-Matt McKechnie

2011-08-04T20:24:00.000-07:00

Album Review:
JIMMY EAT WORLD - INVENTED
(Released Sept. 28 2010)

I hate Pitchfork magazine.

Sometimes, I even hate it so much that my hatred becomes a seething rage that makes me see red and want to destroy every cynical, hipstery, 'I'm-too-cool-to-be-amused-by-anything' writer who has ever been published on that God forsaken website. A great example of this well-warranted fury comes from Pitchfork's reviews of 'Bleed American' and 'Futures' which you can read here but I'm not going to get into the details of 'who said what'. Just read the reviews for yourselves and ask the question 'Is this fair review-writing'?

Okay - let's be honest. Jimmy Eat World may have sold out a bit after Clarity and some of their earlier works when they hit it big with Bleed American, but this is a band who lives to make music - loud, blasting, poppy, thickly distorted guitar-amp and drum music. In an interview I did with David Bazan recently, Bazan had just finished touring with Jimmy Eat World and stated 'Jimmy Eat World have some of the craziest guitar tones I've ever heard'. Slickly hilarious with an ironic lyrical humour, thick-framed glasses and left wing/indie street cred? Maybe not - but JEW is a band who knows their way around the science of good songwriting and distortion pedals. 'Invented' is a pure and raw example of that.

'Heart Is Hard To Find' kicks the album off with a more acoustically driven sound than the typical JEW fare and the song title speaks for itself as Adkins displays the impossibility of maintaining friendships over many years and the displacement of values: 'I can't compete with a real education / All the fucked up things you say / could not be any less help to me'. One of the most mind and ear blasting songs I have ever heard, though, has to be 'Evidence'. When the fuzz-gun guitars come in, it sounds like a new sonic universe has exploded into being inside of your brain. Possibly the best anthem of the album, though, is 'Coffee And Cigarettes' which lyricizes every post-secondary student's dream to travel. The song speeds on a driving bed of thick, drop D guitars and a straight-as-an-arrow 4/4 beat: 'When I finally finished school / It was the first thing that I did / What every townie kid dreams of / I packed and started west / A thousand dollars I had saved and my sister's two cassettes / The Dead from Filmore East and Otis Redding's greatest hits'.

Suffice it to say that Jimmy Eat World have been around and will probably still be around for a long while because their songs have meaning and emotion. Adkins' thin but passion-fused voice may wear on some listeners, but like it or not - he is the bedrock of the band. Maybe JEW were born in a bit of an emo-overkill age but they have stuck it out and proven themselves to be fighters in the bullshit of the music industry. And in a faux-indie age where 'it's cool to be folky and subdued', JEW have not compromised in their volume levels. Invented's only downfall is that it runs a little long (16 songs on the deluxe version, including a few acoustic repeaters). They probably could have stopped at 12 and made it an album for the ages.

-Matt McKechnie

2011-07-03T11:11:00.000-07:00

Album Review:
SLOAN - THE DOUBLE CROSS

After releasing 10 albums over 20 years, the music and work of a band has to eventually make its way into your psyche. That statement is ultra-evident with Sloan's latest release 'The Double Cross'. Noted for their ability to make magnificent wordplay out of everyday phrasing, The Double Cross signifies two X's thus illustrating the band's ten albums over twenty years of keepin' it together. Illuminating their strengths with crafty vocal melodies and driving rock ballads, the rotating 4-man-front Sloan is at the top of their game and show no signs of resting on their laurels.

Kicking off with a continuous-play trifecta of power-pop-rock-throttle, the anthemic 'Follow The Leader' blasts out Chris Murphy-style as one of the best Sloan songs in years. Careening all over the place melodically, FTL almost sounds like 3 songs in one but still holds together tightly and stays true to its pioneering theme. Ending on an uber-high vocal note and splicing into track 2 seamlessly, 'The Answer Was You' is one of the best Jay Ferguson songs ever written and shows why he fits into this band so well. Ferguson's less-loud and soothing vocals power the song ahead on a bed of distortion hum and driving rhythm. Even better than the first 2 songs though is track 3 - Patrick Pentland's 'Unkind'. Swirling around on a spacey bed of Greg Macdonald's keys-work (which actually fills a lot of room on this record in a tasteful fashion), a crunchy and catchy riff lets you know that Patrick is still all about the rock.

The album continues on from track 3 and keeps the listener's ear speaker-glued right up until track 12 (including one of Andrew's most beautiful and introspective songs to date called 'Traces'.) I'd like to say that everyone will love this record but I don't know if I truly can. Sloan is a lifestyle - you either understand them or you don't. When you've grown up with someone in your headphones for 20 years, and you've seen them develop, mature and grow in so many ways, their influence is almost inexplicable to the outsider. The Double Cross is a landmark of a band who have definitely blazed a trail in the Canadian music scene. Even if the music doesn't fit with everyone's hipstery styles and faux-informed tastes, Sloan is a band who demands respect at every turn for making music the way they've wanted to make it for 20 years.

-Matt McKechnie

2011-06-19T10:52:00.000-07:00

Interview with David Bazan

On a sweaty June night, in the Byward Market of the Nation's Capital,
I had the chance to chat with someone who I've wanted to interview
for a long time - David Bazan. Due to his insane touring schedule and
rigorous work ethic, he is a hard man to track down (as I've been trying
for years). Last Wednesday, David and I popped into Minglewoods
as he had a window of minutes before playing live at Mavericks just
down the street. Bazan is no stranger to honesty (both in his songwriting
and in his speech) and we talked about everything under the sun; politics
fundamentalism, Christianity, 9/11, recording techniques and Pitchfork
Magazine. Bazan's newest record Strange Negotiations was released
on May 24th, 2011.

AndTheHits: What started you down the road of music?

David Bazan: Well, from an early age, I grew up going to church and my dad was a music pastor, and my parents were always pretty musical, so it all just sort of influenced me.

ATH: I’ve been chronicling your work and your interviews for quite some time – Do you get tired of people asking you the ‘Christian’ question or where you stand from a faith perspective?

DB: No, no – it doesn’t bother me at all. I mean, it only really comes up with people who are interested. And it’s something I’ve been interested in for a while. My friend Jessica Hopper wrote a piece in the Chicago Reader about ‘elevating the conversation’ and I think it’s a topic that many of us are interested in.

ATH: Is Level With Yourself about coming to grips with losing faith and being alright with it – or just being okay with you are?

DB: In general, I feel like it transcends the faith question and that it’s more just about what the title says and being honest with yourself. Ya know – quit stopping trying to spin things for your own benefit. That’s a big theme on the record – be honest with yourself, take stock of your good and bad actions and submit to the consequences of your bad actions.

ATH: Are there some themes of patriotism and American politics in Wolves At Your Door?

DB: Well it’s politics in the sense that I said in a blurb ‘working class, free-market fundamentalists misunderstand the world in the same way that the Grizzly man misunderstood bears’. They’ll fuck around with you for a minute but eventually, they’re just gonna kill you and eat you. They’re not on your side – they’re not gonna take care of you. When you finally help them achieve ultimate power, it's over. People put their trust in the type of people who couldn’t give the smallest shit about them. We’ll fire them and their families from a job they’ve been faithful to for years and years just to make a buck. What has passed for patriotism in the USA over the last 10 years, I feel like Wolves At Your Door is anti that.

ATH: Talk about your recording techniques on Strange Negotiations – your drums always sound really deep, thunderous and big. Are they recorded to tape or digitally or both?

DB: Well ya know, I like to make drums sound a certain way. I had help this time – I had an engineer friend doing the engineering, but in the recording process, I had Alex (the drummer) not play a lot of cymbals so we could really blow up the drum mics. Because when you add cymbals, it just makes it that much harder to add compression and distortion the whole thing. I’ve just picked up a lot of tips over the years. A lot of times, if you have a really compressed drum sound and you go to the chorus and the drummer is just bashing on the cymbal (*makes ssshhh cymbal noise), it just washes everything out. Some of it is also about writing drum parts in such a way that they’ll record well. But I really do like distortion and compression on drums…a lot.

ATH: Is it tape or digital?

DB: It’s been all digital for a little while. I do like tape and I will probably make a record on tape pretty soon, but it’s just so damned expensive. We’re usually just maximizing whatever money we have to record the thing. I’d rather pay the guys a decent wage while they’re working as opposed to spending it all on 60 minutes of 2 inch reel tape.

ATH: At times on Strange Negotiations, it sounds like you are really pushing your voice (especially in ‘Eating Paper’) and the effect is pretty powerful. Was that a painful experience or did the songs just come out that way?

DB: They did just kinda come out that way, although, by the time we got done with the recording, and I was cutting some of the vocals, I had very little voice left. And so there’s a passage in Eating Paper where I get pretty agro and I was like ‘Okay – I’m recording this vocal now and if I go all the way there, I might not be able to sing for the next couple of days’ because I was already really hoarse. Level With Yourself and People also came at the very end and I finished Level and thought ‘Do I have enough left for People?’ because we were gonna mix the whole record overnight, basically.

ATH: I should mention that Eating Paper is one of my favourite tracks on the new record, for sure.

DB: Dude – thanks a lot! I wrote that with my friend Jason Martin who used to be in a band called Starflyer 59. My friend David came up with the repetitive piano riff and it’s almost Dr. Dre-sounding, in a way.

ATH: Seeing you in Toronto last year, you played bass live but you play everything on the recordings. Is there any reason you chose to play bass in a live setting?

DB: Well, now I’m back to guitar. There was a lot of uncertainty and anxiety about having a band again. A part of my frustration in being in Pedro The Lion was because I really hated myself on the guitar. I was so limited – my playing was so limited. And it has improved but basically I hit this ceiling of what I could express because my skill level was so low and I felt like with the new band, on bass, I could express more things with the amount of skill I had. So I started with bass last year - I didn’t want to get back into that self-loathing cycle of playing guitar. But I’ve eased back into playing guitar. Pedro was always me on guitar – but with this band, we had 2 guitarists for a while. Now, it’s back to only me on guitar but I’m enjoying it a lot more.

ATH: Paste Magazine said ‘Bazan is one of the most nakedly confessional writers since the Laurel Canyon heyday of Jackson Browne and Joni Mitchell and he rocks a lot harder than both’. Do you have any thoughts on that quote?

DB: That’s really neat. That tradition of songwriters is pretty profound, I think, and just to be doing the same vocation and the same craft as some of those people, even if I’m not doing it at the same level, it’s an honour to be a songwriter. Just to be a part of that in any small way is pretty humbling and just makes me feel proud. As far as rocking, when I was 14 or 15 I got into Fugazi and they are still one of my favourite bands. There’s something about really emphatic music that works really well with my tastes. Ya know, I sometimes wonder ‘why not be more mellow?’ but I don’t think I’m as nuanced as an expresser of music at this point. For me, it’s about bashing it out.

ATH: People have debated your faith separation for a long time and some say ‘Curse Your Branches’ was the lynchpin, but to me, even ‘Control’ was a beginning of that back in 2002. Was writing ‘Control’ a pivotal point in your life?

DB: Uh, not necessarily. It reflected a shift that happened for me – but it was a political shift. Right as I was finishing ‘Winners’ in 2000, the WTO riots had just finished up in Seattle and I had a bit of a political awakening that was reflected in Control. When I had that awakening, and I was reading some books and realizing there was actually a left wing that I wasn’t even aware of (left of the democratic party in the US), I thought ‘I want my next record to be very political’ – but then I realized that I didn’t want to hit it so on the nose. So I thought ‘I’ll absorb all of the ideas and just let it all come out’. And then 9/11 happened as I was finishing up Control, and I had this sense that I wanted it to feel like Pinkerton by Weezer in a sonic sense. I wanted it to sound really dirty and raw. And I had these other things I wanted to express like social commentary but what I wanted it to capture was the tension of that time in my life – where there was a political tension that was so strong and unbreakable. And so that’s what I wanted to achieve. But I think the faith shift you’re hinting at didn’t come until later – like 2003 or 2004. In 2004 and 2005, the big dominoes started to fall.

ATH: Did you ever read the pitchfork review of ‘Backwoods Nation’? And did you find it ironic that the song ‘Selling Advertising’, which basically bashes the marketing world, seemed to piss off the writer greatly?

DB: Well ya know, the song ‘Selling Advertising’ was actually directly geared to Ryan Schreiber – the guy who ran Pitchfork for years. He was the first editor in chief and he started it all. I mean, with the Pitchfork review of ‘Winners’ and ‘Control’ and ‘Achilles Heel’, it became clear that there was sort of an editorial agenda – and every time they wrote about me, they were just taking hypocritical cheap swipes at me. So eventually, that song came falling out.

-Matt McKechnie

2011-05-18T09:22:00.000-07:00

The Active Set On Tour

In case you didn't know, The Active Set are going on tour.
This is one of the hardest working bands alive.

Here are their dates:

Active Set - 'It Multiplies' Tour

5/17 Doll Hut – Anaheim

5/18 Ruby Room – San Diego

5/20 Mr. T’s Bowl – Los Angeles

5/21 Cellar Door – Visalia

5/23 Brick and Mortar Music – San Francisco

5/24 Naked Lounge – Sacramento

5/25 Maxwell’s – Redding

5/26 Little Red Lion – Eureka

5/28 Brainwash Café – San Francisco

5/29 Tokyo Garden – Fresno

2011-01-24T09:12:00.000-08:00

TOP 10 OF'10
The Albums That Round Out A Decade

So maybe it's pretty unoriginal to release a list of the top 10 albums
of the year but seeing as we are now in a new decade (yes - a
decade actually passed by us in the early 2000's somehow, amidst
awful and gaudy rumours about Y2K and armageddon and the
nomination of a Black president) and as 2011 spins its wheels,
it's good to pause and reflect on 2010 and the music that made
a decade.

10. Bruce Springsteen - Working On A Dream

Though it's a little over-produced and too slick for even Bruce
at times, this album still captures the heart of a working man
musician. Teaming up with drum-master and massive mogul
producer Brendan O'Brien (of Pearl Jam and Stone Temple
Pilots fame), Springsteen found familiarity in these songs
and although starting an album with an 8 minute track called
'Outlaw Pete' is a bit lofty and chest-puffing, it still works
(and it's a great song). (*note - this is really a 2009 record
but it's close enough.)

9. Neil Young - Le Noise

Having truthfully only given this album a few quick spins, it
is something of a masterpiece of 'laissez-faire' in the sense that
Neil, (with another mega-producer and friend - Daniel Lanois)
after wanting to record only acoustic guitar, decided he'd better
try out mic'ing up a few amps at the same time while playing
a range of dirty and clean electric tracks on top. The result is
work of the ages. Oh yeah - and due to a superstitious belief
by Neil, this album was only ever recorded on nights with a
full moon. Amazing. Still - I miss the drums.

8. Broken Social Scene - Forgiveness Rock Record

Yeah, yeah. It's good. Listening to this record begs one of those
reactions you hope you don't have, but come on - with guest
appearances from Spiral Stairs (Pavement) and production from
Chicago sonic-god John McEntire (The Sea And Cake, Tortoise),
it's almost impossible to not get into this work at some level. Most
cutting about this album (as opposed to past BSS works of
bleeding soundscape abysses) is the fact that all of the vocals
are clearly mixed and words can actually be heard. It's like
they're saying something! And they are - Themes of problematic
environmental ignorance (World Sick) and corrupt oil barons
(Texico Bitches) flood the imagery and make this album one
for the books and Canning, Drew, Whiteman and newcomer
Lisa Lobsinger show both their individuality and powerhouse
teamwork.

7. Daniel, Fred & Julie - Daniel, Fred & Julie

Technically, this was a December of 2009 release, but it was so
good that it couldn't be left off this list. Recorded in the garage of
ex-Shotgun And Jaybird leader Fred Squire, Daniel Romano
(of Attack In Black) and Julie Doiron (of indie-rock pioneers
Eric's Trip and Can-rock goddess) and Fred make a trio of vocal
and acoustic-folk songwriting perfection. Totally devoid of any
pretense, this album is a bare-bones work in a day and age of
slick production that takes the listener on an essential musical
ride of heartbreak and hope. With no percussion, the vocals
soar above a delicate mosaic of finger-picking and strummy
soul. 'Hallelujah, I'm A Bum' celebrates the sloven feeling of
being jobless as Doiron's graceful vocals take you into a new
and angelic dimension while 'The Gambler And His Bride'
kicks off the record with one of the finest songs written by
anyone in the past decade, showcasing all of their unique
vocal tones together in a woeful tale. A record for the ages
that shines in simplicity and strength.

6. Bruce Springsteen - The Promise

Yes - 2010 may have well been the Year Of Bruce. Complete,
resolute and finite, 'The Promise' (which was originally slated
for release in 2008) is a Springsteen record that syncs up with
Born In The USA in both feel and ambition. Comprised from
the guts of some UK sessions called 'Darkness On The Edge
Of Town', these songs belt out in a way that cries for old times,
lost loves and open roads. Kicking off the record is 'Racing
In The Street ('78)' with a wailing harmonica that screams
and almost bends in and out of tune at times as the piano and
organ set a backdrop for Bruce's pleas 'Tonight, tonight...
we're going racing in the street'. Bruce's ability to capture the
heart of the city-smog working man is a gift that shines out
clearer in this record than ever before. Even the sombre but
charging 'Wrong Side Of The Street' shows a bright-power in
a face of darkness. 17 songs that all work well is something
that doesn't come along often - make sure you give this one
some spins.

5. Sarah Harmer - Oh Little Fire

Sarah Harmer is always that good. When I listen to her songs, I
want to sit on a shag carpet with her and drink brandy on a
winter afternoon while she plays her guitar and sings in the
backdrop of my day. As an album that she wanted to make that
revolved around the highway and driving, it is definitely a
power-pop rock trip that must not be missed. Glowy tracks
like 'The City' and 'Captive' make you glad that Sarah picked
her electric guitar back up and re-discovered her driving rock
side. Most captive-ating (catch the pun?) about this record is
the fact that every song could be a radio hit in listenability,
structure, and the recurring theme of moving from town to
town, commuting or going wherever you need to go on the
ever-expanding pavement. Next time, we can only hope miss
Harmer doesn't take so long between albums!

4. Silver Speakers - Iceland

Even though I help run a record label with this guy, I don't care.
This record is one for the books, no matter who you are and what
your biases are. In a prolonged songwriting drought, Tyrone
Warner planned a trip to Iceland to see the volcano
Eyjafjallajokull. It erupted last year, causing massive media
hysteria and annoyance for travelers around the globe as the
dense ash clouded the atmosphere for weeks. Being only a few
kilometres away from the eruption site, Tyrone found a creative
spark that penned and fueled these songs in an insane rush.
Silver Speakers (Tyrone's moniker) is a man who cares about
his craft and who thinks intensely about that which he releases
into the public eye. 'Iceland' is the ultimate
platform for his finest work to date with charging synths,
electro-beats and echoing vocals that seem to crash against
each in a caffeine-inspired, driving pulse. Get this in your
headphones today.

3. Jim Bryson & The Weakerthans - The Falcon Lake Incident

Come on, folks. It's Jim Bryson and the Weakerthans, for pete
sake! Recorded in a cabin in the snowy wilderness of Falcon
Lake Manitoba, the careening tone of Bryson's guitar-leads and
finger picks are enough to butter the dry toast of our music-
needing souls. Backed by The Weakerthans (but not in a
Weakerthans sort of way but in a way that exemplifies Jim's brand
of lyrically thrusted, soul-power-pop and highway-drive-rock),
Jim has never shone more clearly in his focus, sound and lyrical
themes of touring the country as a sideman and writing his own
songs - all the while being away from a young family and
the self discovery that lies therein. Jim is a master of guitar tone
and songwriting and this record should not be missed as The
Weakerthans do a perfect job of setting a sonic stage for Jim
to strut his stuff upon.

2. Arcade Fire - The Suburbs

You knew it was coming. Deal with it, bitches. The band
that everyone loves to hate due to their quick popularity released
another album but this is their best album to date. Internet nerds,
bitter critics and Pitchfork writers will shake their fists and
scowl at the heavens over such a claim - but it's true. In their
first two offerings, let's be honest - AF didn't really know what
the fuck they were doing. There was sentiment (in the U2-esque,
memory-lane, brit-pop, Clayton-bass-driving feel of 'Funeral')
and there was backlash (in the middle finger to conservative
press in the horrific stories of 'Neon Bible') but now - NOW
there is an album. Focusing on the growing years of Win and
William Butler who grew up in the 'burbs of Houston, this album
is full of swelling anthems and desires for something beyond
what is known. Heavy beats and hard-edged guitar riffs (and
a great focus on guitar sounds that was absent on the
first two cinematic & washy records) lay the foundation for
a Win, Regine and the rest of the team. Their best yet.

1. The New Pornographers - Together

Grinding cellos blast the first notes of this album into a sound
stratosphere beyond this world, crossing the ethereal plane,
and igniting the pleasure centers of the brain. While the critical
world is unsure of what to think of TNP (and is mostly busy
still trying to classify or genre-fy their art), 'Together' is the
collective's finest work to date. What this album does best is
display the differences of the songwriters (Bejar, Newman,
Calder and Case) but still blend them in a beautiful tapestry
of guttural guitars, whirling organs, blasting beats and songs
about hope and the power of togetherness. Calder's best and
most haunting song to date 'Sweet Talk, Sweet Talk' shines as
standout in an album full of jewels. Newman's Beach-Boy-esque
tones still win the hearts of the commoner, though, and songs
like 'Moves' and the deliciously haunting 'Valkyrie In The
Roller Disco' illuminate his talent to capture a mood and
put crafty music to it. Case's strong and ever-present voice
on the first single 'Crash Years' show an ability to still go
all out but still hold back at times. Not being a huge Bejar
fan, even his offerings (especially 'Silver Jenny Dollar')
can't help but get your head a-bobbin' and your toe a-tappin'.
All in all, Together shows how 4 very different songwriters
can truly unify.

2010-12-07T07:39:00.000-08:00

Interview with Rob Huebel

Drum Master with Anvil from Anvil_The_Band

Funny man Rob Huebel (writer and actor from 'Human Giant' - a sketch
comedy show co-starring Aziz Ansari and Paul Scheer) took some time to
chat with me on the phone while walking his boisterous german shepherd on
a weekday afternoon. He spoke of sunshine and birds and cute Mexican
children in the Los Angeles park as he walked while it was barely above
zero here in Port Hope, Ontario. Rob has appeared in many comedy series
(Arrested Development, Curb Your Enthusiasm, Adult Swim) and
will be guest-starring in the upcoming 1 hr. Christmas special of 'The
Office' on NBC this thursday as A.J. - the boyfriend of Holly Flax.

To hear the hilarious audio interview, please click here.

2010-10-21T14:02:00.000-07:00

Jim Bryson & The Weakerthans
Live @ The Horseshoe Oct 19th

Most of the time, in music, the big name players get all the glory. Larger

record labels have larger distribution deals and hire marketing teams to

market their artists on a 24 hour basis. These big name players (and usually

by little fault of their own) end up hogging the airwaves, the grant money,

the video circuit, the big award shows, and just generally steal the spotlight.

Last night, it was nice to see an underdog, hard-working, fifth business

Ottawa musician of the Canadiana scene take back some of that glory

(and on a tuesday night, at that!) - The Horseshoe Tavern was packed to the
gills as Jim Bryson (sideman guitarist & keyboardist for such esteemed
acts as Kathleen Edwards, The Tragically Hip and many more) laid bare his

newest release 'The Falcon Lake Incident' which was written and

recorded with none other than Can-rock Winnipeg kings The

Weakerthans. Showing a varied range that wavered between floaty, picking

folk tunes to balls-out, drive-beat rock, Bryson seemed genuinely thankful

on stage and mentioned many times that he was thrilled to see so many

people out.

More than that, though, was the obvious notion that The Weakerthans,

taking a break from the headspace of playing their own music, thoroughly

enjoyed themselves as smiles, nods and random tambourine solos

erupted from the band as they backed Jim up with authority. At one point,

a rowdy crowd member shouted 'play some WEAKERTHANS!' and John

Samson (who played a little keys and mostly sang harmony throughout

the set) gave the audience member a 'shoo' sort of motion with his hand

as if to say 'Get lost. That's not why we're here.'

Showing more of their true, good-natured colours, Jim and Weakerthans

guitarist Stephen Carroll even took their guitars off in a flash to lend a hand

as they saw a girl in the front row begin to pass out. Luckily, a friend of

mine (who just happens to be a doctor) was able to help the temporarily

frazzled girl back to her feet. After a moment, the guitars went back on,

and the set continued without a hiccup. Ending things raucously with

the horn-blasting 'When The Wishes Pile Up', the crowd could not get

enough of the energy that was blasting from the stage.

Having recently interviewed Jim for the magazine I write for (which you

can read here) and having grown up in the same city, I almost felt overcome

with pride for him in the success of the night and the the sonically golden

live presentation of his new record. The whole night was basically a

a statement showing that when friends help other friends, good things

happen.

2010-10-15T07:25:00.000-07:00

The Kings Rock Kingston:
Sloan Live @ The Alehouse
(Oct 13, 2010)

Many Sloan-moons ago, during the release of their Between The Bridges
album, a few friends and myself witnessed a blast-battalion of the ages
that was fit for arena-rock gods and masters of the stage. It's a vivid
memory - old Jock Harty Arena, my friend Jeff and I holding up olympic
scoring signs (complete with decimal numbers), and another friend Justin
dressed up as The Flash (don't ask). Halfway through the performance, a
number of jocks began to chant 'MONEY CITY MANIACS!' over and
over again as Chris Murphy sat down to play a few quieter keys-inspired
songs. He looked at the group chanting louder and louder, and leaned into
the mic saying 'Oh - ok. I can play it now but...it sounds a lot better with
the band' and he proceeded to play the main melody of money city on the
keyboard, very slowly and awkwardly, using only one finger at a time. It
was precisely this bantering, comedic yet full-out rock presence that
labelled their shows as legendary.

Sloan has a way of performing that is uncanny and unparalleled. In the
long list of Canadiana rock royalty, it can be said that Chris, Jay, Patrick,
Andrew (and even touring keys player Greg Macdonald) are kings.

Last night, and many moons from that Jock Harty show, the 'kings' fittingly
rocked the town of kings for all it was worth. Kicking off with 'Losing
California', the lads powered through a pretty extensive set that was a
great mix of new and old. Next, launching into 'Penpals', 'The Lines You
Amend', 'Underwhelmed' and 'Worried Now', Sloan sounded as tight
and dynamic as they did in 2001, if not tighter. Keeping their banter
limited, Chris at one point said into the mic 'So...we're not really promoting
anything, right now. We just wanted to tour.' Talk about your modern day
workhorses! The set crescendoed and mellowed with a middle set that
featured the odd but lovable songs of Andrew Scott. Andrew led strong
with 'The Great Wall', 'People Of The Sky' and from the latest Hit & Run
EP 'Where Are You Now?' Blasting out over 20 songs (featuring a rare
encore occurrence that had Chris Murphy playing guitar for 'Deeper Than
Beauty' and Greg Macdonald on drums) and playing for almost 2 hours,
Sloan made it clear that they are not showing signs of slowing down
anytime soon.

In 2011, Sloan is gearing up to release a new album at a concert that will
mark the 20th anniversary of their first live show. After blasting out 4
different flavours from four very different songwriters for 20 years, Sloan
are still leading the charge when it comes to playing live, mastering the
variance of a hearty rock sound, and working their asses off. No matter
what you think of the band, there is no denying their work ethic and
the undeniable body of work that they will leave behind.

2010-09-21T10:42:00.000-07:00

Autumn Defense Download

As if Wilco couldn't get any radder (Yeah - that's right. I said 'radder') -

Tweedy sidemen John Stirrat and Pat Sansone have had their own

project going on for a few years now called 'Autumn Defense'. I

think it's inspiring when musicians, artists and creators can be free to

be involved with many projects at once. Make no mistake - these

Chi-town rockers are not just back-line players - they are incredible

songwriters.

Have a listen to their latest single 'Back of My Mind' by clicking

here.

Their fourth album-offering 'Once Around' is due out November 2

on Yep Roc records (a label which sports the likes of Can-rock

golden boys Sloan).

2010-09-17T09:46:00.000-07:00

New Video by 'The Active Set'

Have a look at this vid sent to me by Steve of 'The Active Set'.

Very cool unconventional songwriting style and a unique voice.

High quality video.

Check it.

2010-09-13T11:15:00.000-07:00

Interview with Actor Keith Coogan

(by Matt McKechnie)

After being a long time fan of Keith and a lover of his films

throughout the 80's and 90's, we recently connected online

and passed a few notes around before finally scheduling an

interview. Keith was very gracious and open over the phone

in talking about both his present and past accolades in

acting and the joys and sorrows that go along with all of it.

MM: So Keith – as a long time watcher and fan of your films, and reading reports that you were still around Hollywood, I have to ask – where did you go?

KC: (laughs) I went nowhere! I fell into that whole, “I have to make a living and eat food” phase, so I learned some business skills, and made my way through the dark spots. The greatest thing to happen during that time would have to be the explosive growth of “New Media”, which throws a little bit of a bone out to those wishing to produce projects of their own. With a little bit of guidance, education and now with sparkly new management, I'm back with a vengeance!

MM: Talk about the Monologue a Day Project you're doing on youtube

KC: I was sitting in the bathtub on New Year's Day, when, like a lightening bolt, this great idea for a project leapt into my head. I'm a big fan of “Julie and Julia”, and I put two and two together and decided I would learn, shoot, and then post a monologue a day for a full year. The project has been the best acting class I have ever been through... and it's a great motivator. I never imagined I would get such great press from doing it, and certainly would have called the funny farm on anyone suggesting TMZ would do a spot covering the project. But it happened, so deal with it.

MM: Since we are a music mag, how has music influenced or shaped your career as an actor – or just inspired you as a person?

KC: Well, I've always loved all kinds of music. As a young guy, my dad played bass in an all black band, and he was the only white guy in the band.... so they nicknamed him “Spot”. And ya know – my mom started me on Earth, Wind & Fire, Tower of Power and a lot of different funk when I was growing up. But getting older, I got into playing piano and trombone and of course, I was trained in John Philip Souza marches and all that – but much later, I got into guitar and I sort of became a rocker (kinda like my character in 'Don't Tell Mom The Babysitter's Dead' but I felt that that happened for me later in life – I was 18 and everyone else was already there. I was a late bloomer when it came to music. But I also do love a lot of modern stuff - Pavement, MGMT and a lot of weird bands. Huge Pink Floyd fan.

MM: So considering your dad's role in that band, was that scene where you all entered that all-Black blues club in Chicago 'Adventures in Babysitting' hit home for you? Was it sort of surreal?

KC: Well ya know, being raised poor, I guess I was trained to never see others as different, regardless of status or race – so it didn't freak me out or anything. But yeah, in going to Chicago to film that scene and then winding up in a studio with Albert Collins and the Icebreakers... - I was thinking 'Oh my gawd – this is unreal'. Such an amazing experience, for sure.

MM: Do you feel like being at the age you are, you can relate well to technology and embrace it and use it for good?

KC: Absolutely – I love the fact that the system has shifted and now one person with a camera really has the power to create and do what they're passionate about. There used be 88 media companies controlling everything, now there are 6. Rupert Murdoch is pissed and still maintains control with an Iron Fist, and rightfully so, as he needs to get paid real money for the fake news he produces – but it's still not happening. The power has shifted to the individual, who has more independent choices as to what they watch and read, and I love that.

MM: Looking over your accolades, and getting your start guest starring on shows such as 'Little House on the Prairie' and starting at such a young age, do you feel that tainted your career at all or do you embrace those experiences as helping you?

KC: Ya know, I loved my childhood and I definitely wouldn't change it. I mean, thinking back to being on the set of 'Love Boat', 'Fantasy Island', 'Knight Rider', all that stuff– It was an absolutely terrific way to grow up. The only difference between today's kids and my young career would be that when I was a child, kids typically didn't make the same money as the adult actors, and proper screen credit could be hard to secure without good representation. Nowadays, the studios understand that the power is in the hands of the youths, and these kids get LOTS of money, and are pushed so hard to be a product... none of today's kids get to be much of a kid. Personally, I loved all of it. And I think that it's helped me to be who I am today.

MM: I saw 'Toy Soldiers' on Peachtree TV the other day – talk a bit about some of controversy around that film

KC: Uh, controversy? Ya know, I don't think there ever really was much controversy when it opened, but it's certainly the type of film that just could not get made in today's culture. I mean the plot was about South American terrorists who cross through the Mexican border, kill the guards to get in and then take over a private school filled with the progeny of the rich and elite. I mean – there's nothing about it that any production company would go for now... Toy Soldier's will probably NOT show up on the list of projects being remade/re-imagined. But as far as the fun, popcorn thrill ride, and this sort of band of renegade kids who end up working with their principal (whom they once hated) to help save the day, that's a theme that I think needs to come through. It's OK for kids to think for themselves and question authority. How else will they grow up to become smart, educated, and independent adults?

MM: What are some future projects we can expect to see from you?

KC: Well, I'm actually taking on a major role replacing the late Corey Haim in a film called 'A Detour In Life' which is about a father who goes down the road of alcoholism and self-doubt after suffering a tragic loss. And it's a role Corey could have done in his sleep but for me, being known as more of a comedy guy, it's going to force me to get to some deep and dark places. And I'm so very looking forward to the work of that role and the whole process of it.

MM: And will we see more from 'The Telepathist'?

KC: (laughs) This fall, on ABC. Actually, “The Telepathist” is the show-within-a-show on the web series, “Crafty”. Very funny take on show-biz as seen from the trenches of the food service department of the entertainment industry. It's ridiculous, rude, racist, misogynistic, loud, fast, and vicious. No role or personality type in the industry is left un-skewered. We've shot ten episodes, and are looking for someone to buy it, or as I like to say, “Give us money for this shit!”

MM: I look forward to seeing it! Thanks for your time, it was great catching up!

KC: Thanks a bunch, Matt... I'll talk to you later!

2010-09-07T17:56:00.000-07:00

Shelter Valley Folk Festival 2010 -

We All Shine On

(written by Taylor Eby)

(photo by Jory Nash)

Once a year in the small hamlet of Grafton, Ontario, a small community descends upon a local lavender farm for the idyllic Shelter Valley Folk Festival. I use the word community as this is not a typical music festival at which music is served alongside a barrage of corporate endorsements, and where everyone goes home after a few hours of braving sweaty crowds and long line-ups. It is rather an amiable weekend-long gathering of local artisans, musicians, food and wellness experts and Canadian “folkheads”. This past Labour Day weekend saw the festival’s seventh successful gathering which remained as blithe as ever despite sporadic onslaughts of rain and brisk winds.

In past years, the festival has been headlined by Canadian folk mainstays such as Valdy and Sarah Harmer while showcasing burgeoning newcomers such as Great Lake Swimmers, Serena Ryder and The Good Lovelies. There are also a number of hidden folk gems that the fest is known for higlighting, and which receive much deserved attention on the main stage. This year’s line-up was balanced in a similar fashion with Fred Eaglesmith being the highlight for many on the opening night. The gruff country-folk songwriter’s set was riddled with comical stage banter and deprecating humour which had the crowd attentively amused despite constant jabs at the “hippies” in the audience. Any notions of Eaglesmith being a washed-up unknown were thoroughly dashed after witnessing his repertoire of blue collar anthems and the dedication of his fans. The scene was reminiscent of a boozy barroom sing-a-long as Eaglesmith sang through his classics “Time to Get a Gun” and “Alcohol and Pills”.

Another obvious crowd pleaser of the evening was the father-son duo Beaucoup Blue. The duo had the audience completely entranced as they flawlessly performed their bluesy folk songs. One would sing and play rhythm while the other played on a slide guitar (or vice versa) and they brilliantly fed off each other’s energies, blurring the lines of age and experience between father and son.

One of the more polarizing acts of the evening was Toronto-based Lal. Their experimental blend of electronic beats, funk-charged bass and free flow and oft-improvised vocals seemed to confuse and occasionally irritate the older members of the audience while simultaneously captivating much of the younger audience (many of whom unabashedly danced throughout their entire set).

Throughout the daytime on Saturday and Sunday, there were numerous workshops and group events which ranged from tai chi and yoga sessions to instructional sessions on sustainable living, musical discussions, and wellness and relaxation workshops. This was when the festival most imitated a close-knit community. Without seeming too contrived or pretentious, local artisans and experts shared their wares and ideas while the festival’s musicians held intimate and impromptu collaborations on three separate stages.
One of Shelter Valley’s yearly objectives is to provide young up and coming musicians a chance to gain a broader audience and further recognition within the Canadian music scene. Saturday’s main stage was particularly energized by two of these buzz-worthy musicians. The first was Winnipeg-based JP Hoe who was nominated for a West Coast Music Award last year. With his gripping voice and earnest musings, Hoe’s roots influenced sound is indicative of a Canadian folk rock scene that is fresh and very much alive. Backed by the ethereal voices of Hayley and Kendra Penner (daughters of CBC Television star Fred Penner), JP wowed the listeners and put the weather-weary fest-goers into a dead-silent trance of attentiveness.
The second notable newcomer was Niagara’s Ariana Gillis. Certainly galvanizing old and young alike, Ariana displayed a formidable stage presence while rousing the audience to their feet. Receiving much attention in Southern Ontario and from CBC Radio, Gillis’ heartfelt folksy pop could easily be a mainstream radio staple without sounding shallow and over-manufactured – a feat not easily accomplished when her nearest musical contemporaries are the likes of Taylor Swift and Avril Lavigne. Here’s to hoping she retains her musical potential without being hijacked and watered down by an increasingly uncreative industry.
To go into more detail, giving due recognition to all the acts of the Shelter Valley Folk Festival would require a piece of writing much longer than this. That is simply because each artist displayed a consistent talent and energy rarely seen at most music festivals. There was no dead time - no insipid performances. Even the MC's (featuring the quiet but deadly Brian Macmillan, the old Dixie gramophone stylers Sheesham & Lotus and Canadian folk hero Ken Whiteley) kept the crowd riveted despite some horrific weather and powered the performances along. The organizers of Shelter Valley certainly have a keen ear for excellent musicians who otherwise would not receive the attention of most music-listeners. Combine all of that with their efforts to promote sustainable living, local businesses and artists in a community-oriented fashion, and the result is a festival that is one of the best kept musical secrets in Ontario – one that will hopefully continue to thrive in coming years.

2010-08-09T15:00:00.000-07:00

Sentimental, All Of You

(a review of Broken Social Scene's

'Forgiveness Rock Record' by Taylor Eby)

After nearly half a decade since their last release, Toronto’s most beloved

supergroup has returned with Forgiveness Rock Record. The occasional

sixteen-plus member Broken Social Scene has shrunk to a leaner seven-

member outfit, and long-time producer Dave Newfeld has been replaced by

John McEntire of Tortoise and The Sea and the Cake fame. With this new

release, de facto band leaders Kevin Drew and Brendan Canning seem to

be less in charge as the band attempts to solidify the current lineup as the

definitive Broken Social Scene. These changes combined have allowed the

band to create one of their most appealing albums to date.

Throughout the record, there are a handful of tracks which harness the

classic anthemic BSS momentum, such as album opener ‘World Sick’ with

its melodic barrage of guitars as well as the instrumental jam ‘Meet Me in the

Basement’ which is certain to become a live staple. However, much of

Forgiveness finds BSS embracing a more clean cut, poppier sound than

their previous works. And while some long-time fans may find this change

of direction a bit off-putting at times, it is nearly impossible not to enjoy

tracks like the incredibly catchy ‘Texico Bitches’. The aforementioned track

seems to be indicative of the band’s change of direction; the sometimes

incoherent, atmospheric haze, which at times bogged down the band’s 2005

self-titled release, is much less prevalent on this record. The band sounds

as crisp as ever - especially on the impressive ‘All to All’ - a musical collage

of guitar effects, strings, synth and the stunning voice of newcomer Lisa

Lobsinger. Another album standout is Andrew Whiteman’s Apostle of Hustle-

flavoured ‘Art House Director’.

Forgiveness, however, is not without some minor detractors. At times the

album meanders as a few otherwise enjoyable tracks begin to overstay

their welcome. There are also a few tracks which come across as contrived

and a bit baffling such as ‘Chase Scene’ which sounds like a peculiar

indie rock parody on late 70s disco/funk. The other obvious blunder is the

eye-roller album closer ‘Me and My Hand’ which appears to be a last-minute

filler.

Overall, though, Forgiveness proves to be an exceptional record which

could only have benefitted from trimming down moments of excess and

noncohesion. For those more attuned to the band’s earlier work, it may take

a few listens before Forgiveness fits comfortably into the BSS catalogue.

With Forgiveness, Broken Social Scene manages to hold onto familiar

elements (‘Sentimental Xs’ for instance - the album’s obligatory

Feist-Haines-Millan collaboration) while attempting to navigate through new

sounds. This seems to be the key to this album’s success and the band’s

continuing dominance as one of Canadian indie rock’s biggest acts.

2010-02-01T18:17:00.000-08:00

First And The Hits Just Keep On Comin' Podcast!

2010-01-28T09:30:00.000-08:00

Stephen Ramsay Interview

(of Young Galaxy)

by Matt McKechnie for Thick Specs

On another not-so-wintery January monday, Stephen lent me a chunk

of his time and his ear whilst taking a break from the recording

sessions of the newest & third Young Galaxy album (surfacing in

April). Please have a listen by clicking the play button below to hear

the enigmatic and passionate ramblings of a guy who is all about the

true heart of good art and good music.

(Click the play button below to listen - enjoy optimal,

skip-free listening by clicking play and then pausing, letting the

whole progress bar load first before clicking play again)

2010-01-11T22:22:00.000-08:00

BILL PRIDDLE INTERVIEW

of Treble Charger, Broken Social Scene &

The Priddle Concern

(by Matt McKechnie)

On a frigid, gloomy monday afternoon, the ever-enchanting and

insightful Bill Priddle (of Treble Charger, Broken Social Scene) gave

up a half an hour of his time to chat with little, old me. Filled with

witticisms and industry-underbelly depictions, Bill talked with me

about his solo project 'The Priddle Concern (2007)', early days of

BSS, later days of TC and much more.

Have a listen!

(Click the play button below to listen - enjoy optimal,

skip-free listening by letting the whole progress bar load

first before clicking play)

2010-01-02T08:45:00.000-08:00

Matty's Top 10 Albums of 2009

10. Apostle Of Hustle - Eats Darkness

On a very small and quiet release, this album seems to have

stirred up spicy latin explosions of AOH fame but with a new,

lean & stripped down twist - the once threesome is now

only a duo of Andrew and Dean. By no means their best work,

it is still an ultra-creative & hyper-original achievement that

says something about the state we live in. In an interview

where I asked Andrew about the album, he stated 'We eat

darkness - and we shit out the light'.

9. Amy Millan - Masters Of Burial

Complete with her usual honey-drip vocal stylings and ever

simple but unique instrumentation, Amy has made a solo

record that rivals her first (Honey From The Tombs), for

which, her listeners have waited a good many years. With

the funkily organ-accented 'Towers' that talks about the

din of big cities and the finally released, banjo-infused

cover of DCFC's 'Into The Dark', this album is pure

afternoon pleasure. This album is as delightful as Amy,

herself, is in person as I interviewed her at the Ottawa

folkfest and then pounded fists with her backstage after

she name-dropped me during the show.

8. Joel Plaskett - Three

It goes without saying that sir Joel would make this list and

for the month of May, I listened to this album on repeat on

my walks to and from the Glebe. From the bowels of Joel's

tape-purist home studio comes an album that really demands

listening from all styles of music fans. The album implements

so many ranges of genres from pure rock to metal to folk

to even...rap! Yes - Joel can bust a rhyme on time. Herding

New Yorker Anna Egge and Canadian folker Rose Cousins

into the fray of the work gives it an accent that will make it

stand out in the annals of time. From opening for Paul

McCartney to spending time with little old me after a

Kingston show at the toucan, Joel is as pure and normal

of a guy as you can get with a knack for making treasure.

7. Phoenix - Wolfgang Amadeus Phoenix

Although the shrink-wrapped compression of the music is so

tight that it's almost difficult to breathe while listening, this

is a pretty freaking great album. After pulling a 'Who is THIS?'

to pretty much all of North America with the first two singles,

the France-oriented, Thomas Mars-led crew is taking over.

With a vocal style that is all his own , the pop-sensibility and

implosive instrumentation of the songs leave you feeling

like you would after a sugar rush - crashed but belly-grabbing

and satisfied.

6. Wilco - Wilco (The Album)

For as many critical knocks as this album took, I still stand by

my word and say it's as awesome as a possum. Tweedy's grand

gestures and ability to shake off fame as quickly as he can

muster it is inspiring. Complete with a visit from Lady Feist

on the folky, middle-road 'You and I' to swirling cacaphonic

feedback like only Wilco can channel on 'Wilco (The Song)', this

is as good as it gets when it comes to bands making music

however the hell they want, while poking fun at themselves

and not caring what the media thinks.

5. Grady - Good As Dead

Although this album wasn't a heavy rotator of mine this past

year, Grady gets their own category of 'nuff respect'. In an

interview with Gordie Johnson this past year, he referred to

feedback from his amp as 'the voice of God'. Seriously - Gordie

kicks arse and takes names. The Southern-rockabilly/shredneck

stylings of this album (complete with Willie Nelson telling

a joke before a song and a cover of the Tragically Hip's 'Boots

Or Hearts') are mind-bendingly thunderous and give you

a sound you've heard before but with a guitar-gusto that

makes your soul soar. He did it once for the fame with Big

Sugar - now he's doing it for the love with Grady.

4. Dinosaur Jr - Farm

There is no living artist today who can continue to do what

DJR have done and the way that they do it. J Mascis (in a

glorious re-unification with Lou Barlow) has brought a

new life and resurgent charm to an old band. Oddly enough,

this was one of the most praised albums on pitchfork this

year. J still sounds the same as he did in 1994 when I first

heard his magic sounds in my earphones in the basement

of bell high. There is freshness, plenty of guitar squeals

with folky undertone reflection and familiarity in this

double disc masterpiece - and I just got it 4 days ago!

3. Hey Rosetta! - Into Your Lungs

This # 3 is almost a little too sly for my liking but I still

can't deny the fact that the highly poster-ized Hey Rosetta!

made a kick ass album (thanks in large part to their

producer - Mister Hawksley Workman). From the first

time I heard 'New Goodbye' turn from a quiet hatchling

into a loud, flapping bird of sound, I knew there was a

youth and a depth to these songs that rivals a lot of crap that

is out there today. When seeing them live briefly at the

Horseshoe this year, I wasn't disappointed with the

snippets I heard. Great concept - great album. Nuff said.

2. Metric - Fantasies

Everybody, everybody - fall in love...with Metric. There's not

much I can say except that every song on this album is a well-

crafted sonic boom of rock significance. Haines and crew

seem to get better with every album and it would be an

astonishing feat of unearthly measure if they went up from

here.

1. David Bazan - Curse Your Branches

Oh, Bazan - you sneaky weasel. You know how to steal my

listening heart. Sorry - just had to get that out, there...

As if moving from Pedro The Lion to an even more stripped

down solo career wasn't enough of a rash change, Bazan still

knows how to write conceptually and deliver in a way that

no one else can. CYB is an album that explores the guts of

the human condition with an honesty and a normalcy that is

impossible to find elsewhere. Songs like 'Bless This Mess'

will have you pumping your fist in agreement but looking

inward at the same time. Bazan knows how to make people

bob their heads in listening enjoyment and think deeply at

the same time.

2009-11-18T11:27:00.000-08:00

Album Review by Matt McKechnie

Artist: The Novaks

Album: Things Fall Apart

Recorded live off the floor of the Sonic Temple in Halifax, The

Novaks have emerged with an album of stripped-down, bare

essentials, 3-man, rough and rugged rock in 'Things Fall Apart'.

Led by the Petty-esque vocals and monster beef guitar riffage

of Mick Davis (who apparently is very Mick Jagger-like

on stage), The Novaks are surfacing a lot in the Canada music

scene. Ranging as much as they can in a powerful 3 man

throttle rock milieu, songs like 'Rain, Rain, Rain' will have

you snapping your fingers with its plush poppy sound while

'Destroyer' allows for a harder heavy-metal sensibility. Mick

Davis' lyrics don't seem to be overly cerebral as the band

sticks to writing about song-topics they seem to comfortable

with; sex, drugs, heartbreak, evil women and the road.

Blasting and sporadic at times but in a controlled venue, it's

really hard to believe that this album was recorded all in one

shot without much overdubbing. A trio rock unit has never

sounded so full. There's really not a lot to say about this album -

what you see is what you get. Will it change your life? Probably

not. Will it have you bobbing your head and pumping your fist

on your way to work? Most definitely. The simplicity of the

sound (which is a little too bare at times) is really the primary

strength of the lads. I wouldn't be surprised to see 10 more

albums from The Novaks in the next 6 years.

*(Be sure to catch The Novaks live at Lee's Palace this coming

Nov. 27 and 28 with the Arkells)

2009-07-25T20:47:00.000-07:00

Wilco (The Album)

Review by Matt McKechnie

One thing that Wilco has done consistently, throughout the span

of their colourful musical career, is be inconsistent. The six man

Jeff Tweedy-led sometimes-rock/sometimes-country/sometimes-

blues/sometimes-pop band has managed to create a bit of a

mysticism about themselves in the sense that they truly cannot

be pinned down to one musical genre. My friend Jeff was always

into Wilco and truthfully, they were always a little too weird for

me. Over the years, though, I've realized that it's the quote un-

quote 'weird' music that is actually saying something noteworthy.

Their last offering (Sky Blue Sky) was met with mixed reviews

as it was far more stripped down than the usual noisy and sonically

experimental sounds of the troupe. 'Wilco (The Album)' takes the

band in a new musical direction and plays upon the un-peggable

nature of their essence. Tweedy's voice still leads the charge of

the sometimes uncertain musical terrain. Leading off the album

is the track 'Wilco (The Song)' which hinges on the repeating

refrain:

'Wilco/

Wilco/

Wilco will love you baby'/

It's almost as if Wilco hints at their own musical super-powers

in a jocular but semi-heartfelt manner. It works as a song and

knowing the spotlight-dodging likes of Tweedy, the band

probably had a great time making and recording this song.

Wilco's slick mysticism even bleeds into the realm of other

popular musicians. Cited as influences for legions of current

pop acts, there's truly no stone they have left unturned.

Even the lovely Lady Feist lends her soothing French voice to

the jangly/romantic pop stylings of 'You And I'.

But so what? So what if they joke about themselves and their

underground popularity? So what if they genre-jump? So what

if Feist and other huge artists love them? What is it that

keeps their listeners coming back for more? I think the main

driver to all of their songs is the voice of Jeff Tweedy. He is

the lone gunman on the vocal tracks and the voice of reason

amidst a smorgasbord of sounds. I think one reason why the

media has given this album such mixed reviews is because

they tried to 'get' something - when in reality, there is

nothing to get. That's the power of Wilco. Even when they

say nothing, they say something.

But don't you fret - Wilco will love you, baby.

2009-05-20T21:38:00.000-07:00

When My Train Comes In

(A Review Of Joel Plaskett's Latest Album 'Three')

by Matt McKechnie

There used to be an old song by De La Soul that I loved

in which the chorus repeated 'Three...it's a magic numba...'

amidst other silly De La Soul-esque flowery beats and

ramblings.

In Joel Plaskett's 'Three', there are no flowery beats or

hippie-centric rap songs. There are only 27 individual pieces

of art in a musical exhibit that draw a passer-by in to stare

deeply. In a recent interview I conducted with Plaskett, his

words gave me some insight into some of the borderline-OCD

art-work within the album. Plaskett said "I felt that people

would only really get into this album if I could actually

somehow 'bring em to it'...". Using only the warm sounds of

analog recording equipment (as opposed to the default

digital of the modern world), the acoustic-driven (yet

often full-banded ending) songs have a tone of soothing

listenability that run through the entirety of the disc.

With three different albums towing nine songs apiece, there

is plenty to sink your teeth into and almost every aspect

of each album is divisible by three, in some way shape or

form. From the re-curring usage of the three word song

titles ('Heartless, Heartless, Heartless', 'Run, Run, Run',

'Gone, Gone, Gone', etc.), the listeners gets a strong sense

that Plaskett is trying to stick tightly to a concept with

little variance or movement outside of that frame. The

honey-drip accompanying vocals of Rose Cousins and New

York folker Anna Egge lend themselves to almost every song

in a brilliantly guiding light.

But so what? Tons of other artists put this kind of tedious

and exasperating prep into a full length - what is it about

Joel's work that pushes his cream to the top of the milk jar?

It might be due to Joel's ultra-personal songwriting style

that brings the listener right into his living room. JP pulls

no punches when it comes to exploring his own demons

(which are actually shown in the 2nd disc song 'Demons')

and darkness.

But what is it that keeps Plaskett 'Rollin, Rollin, Rollin'?

From his early days with 'The Hermit' (Thrush Hermit)

to his first solo work 'In Need of Medical Attention', Joel

has proven his ability to stay centrally focused (majorly

within rock, country and folk) but to dip very deeply into

varied musical pools when he needs to; He's not afraid to

pick up a mandolin and strum a heartfelt ballad or to

rip full-throttle into his beat-up fender duck and rock the

crowd without abandon. This is no more evident in the

song that rocks hardest on the album - 'Run, Run, Run'.

In this final song on disc 1, after a Zeppelin-esque whap-

drum and sonic rock riff ends, an acoustic coda begins

that ends the song with a brilliant refrain that just may

sum up Joel's experience as a musician so far - and as a

human being:

'All you beautiful creatures

You are featured presentations

Show me a little patience

Won't you meet me at the station

When my train comes in...'

In that same interview, Joel defined success as a sort of

'restlessness' in the sense that he is never truly happy with

what he's made - and he is always on to the next thing.

I didn't really get into this album at first - but it's like any

book worth reading; it takes some time to ingest and once

it sticks, it is all over your consciousness. Let's hope that

Joel still has a ways to go before that ever-running

train comes in.

2009-04-15T09:02:00.000-07:00

Book Review (by Matt McKechnie)
AUTHOR: Susan Isaacs
BOOK: 'Angry Conversations With God -
A Snarky But Authentic Spiritual Memoir'

In this life, our personal stories are supernaturally significant.
In Susan Issacs' intensely personal book 'Angry Conversations
With God – A Snarky But Authentic Spiritual Memoir', the
reader is led down the fragrant road of a very colourful story
about a woman trying to get to the centre of her spirit. Thinking
that the end of her rope was going to be reached in New York
at age 40 (after a series of massive life- letdowns and broken
relationships), Susan re-counts the detailed process of finding
an ex-pastor hippie therapist to deal with the re-construction
of her soul.

Speaking of stories, another wrinkle that makes this book all
the more interesting for me is the prong of another story that
entails how I came to cross paths with Susan. In my younger
years, I spent a lot of time watching movies (especially within
the realm of John Hughes comedies). A movie that was very
pivotal for me was 'Planes, Trains and Automobiles' starring
John Candy and Steve Martin. Martin plays Neil Page – a
conservative, tightly wound businessman from Chicago. Candy
plays Del Griffith – a jovial salesman who loves people and
the scent of the open road. In the story, though, I was always
confused about the sad plot of Griffith's wife as she is
somewhat of a present character in the film but is only ever
seen in a bedside photo that Del keeps close. There was
something that drew me in about that picture…but I couldn’t
put my finger on what it was. Regardless of the mystery,
though – I went on. I lived life. I grew up. From time to
time, I would see the film on TBS or another channel and
wonder about the mysterious, friendly-looking woman in
the picture. Some years later, after continuing down the path
of writing and journalism, I worked as a writer and editor for
the Burnside Writer’s Collective based out of Portland,
Oregon (for which Susan was also writing). Googling every
name I found within the collective, I googled Susan’s only to
find out she was a professional actor among many other
things. I clicked on to IMDB to see what films she’d been in
and that’s when I saw that she had acted in ‘Planes, Trains
and Automobiles’. I got kind of excited because I loved that
movie and knew every face in the film like the back of my
hand. I started thinking about which character I thought she
might be – and then I saw her picture online. It was her –
the mysterious lady I’d wondered about for years – Del
Griffith’s wife. I contacted her immediately and we’ve become
acquaintances/e-friends ever since.

Going deeper from my initial meeting with Susan (and due
to the personal nature of this book), I found myself gaining
a wealthier understanding of her while reading it. In
re-counting the woes and hardships of her professional acting
career (in a lot of films I owned on VHS), she bluntly talks
about the harsh downside of the limelight - and how all of her
scenes were cut from the final version of Planes, Trains and
Automobiles. My jaw dropped in revelatory spasm when I read
that line. Susan’s writing style is raw, as she holds back nothing
from her personal experiences. Her narrative includes
everything from guilt-flagged sexuality to running through
the streets of her Californian suburb in a state of lunacy after
hearing about John Lennon’s death. It’s political – it’s powerful
– it’s personal. She curses at God and He curses back at her. But
for all of her ornately-detailed accounts of coffee/rock
church-shopping and odd-duck Christian finding, she finds out
that there is an upshot.

I’m glad to call myself an acquaintance of Susan and to have
gained a greater grasp of her life from reading this book. There
was always a calm, re-assuring notion about her picture in that
film that was endearing to me as a kid. Little did I know that I
would one day meet that very, same lady in the photo. In the
book, Susan stumbles toward re-connecting with God in
couples’ therapy by remembering the good things He’s done
and the presence of His work in her life. Maybe all of that time,
while she struggled through acting and many other woes, her
picture was a way of God telling me (a little boy in Canada) to
never forget faces and to always invest into relationships.

Having been an English major for four and a half years of my
life, I’m still not at a place where I want to read on a casual
basis. ‘Angry Conversations With God’ made me want to start
reading for pleasure again.

2009-03-16T20:53:00.000-07:00

Movie Review

Synecdoche, New York

In the mind of Charlie Kaufman and within the screenplays that

originate from that ultra-bizarre and yet strangely familiar world,

the watcher is never really sure what is going on. Even the ending

of a Kaufman film (which usually brings some form of closure or

relief) doesn't ever actually mean it's 'the end'. Long on trickery

and short on conformity, Kaufman's latest work 'Synecdoche,

New York' was released on a relatively small scale last year but

has thumped the cinematic world for ages to come.

The making of this film must have been similar to the journey

of Philip Seymour Hoffman's character Caden Cotard. Overtly

distraught by a strange and de-habilitating medical condition

that affects his ability to salivate, Cotard is a man of fatal

disappointment. Stuck within a disparate marriage to a

famous painter but pedestalizing his young daughter

Olive, Cotard aims to break out of his rut as an unoriginal

playwright and to create something so brave, artistic, daunting

and unfounded that it begins to take over the whole of his

being. Within this journey, though, Kaufman keeps the viewer

disoriented by allowing Cotard's character to lose track of

normal daily devices such as time. Within the work of this

film, time is a factor that never really makes sense but

is still pivotal to the duration of the story.

Synecdoche plays out like a dream that seems so vivid and

real the moment you wake up, but that is so fragmented and

near impossible to recall within seconds of being awake.

It is a cinematic work like none other to date. Hoffman is

obviously brilliant along with a stellar cast but the real

creative genius is in the writing. This is not to say that

Hoffman doesn't act well or isn't a good actor - he's crucial

to this role and a massively gifted actor. This film is just

so well written that the cast is almost a non-factor

(including a definite nod and branching out for Michelle

Williams). It's actually hard to write about what

unfolds within the film without giving away too much.

Just know that if you don't see any other film this year,

you must see this one.

2009-02-26T09:32:00.000-08:00

MOVIE REVIEW
THE BROTHERS SOLOMON

My brother and a few other friends told me about this
movie, and upon initially hearing about it, I wrote it
off as a lame feature. The rumblings in my mind said
'There's no WAY Will Arnett and SNL regular Will
Forte can be THAT funny for 1 hour and 20 some
minutes'. I also heard it was laced with a lot of sexual
innuendo humour which I find to be pretty unoriginal,
over-used and lacking in comedic depth.

Boy, was I wrong.

The film basically follows the lives of John and Dean
Solomon - two socially inept brothers who are
trying to complete their dying father's last wish to be
a grandfather (who is actually Lee Majors from tv's
long running series 'The Fall Guy'). Yes - the premise
seems ridiculous but in the end, after all of the
awkward antics are done with, it is a film that has
heart. In their quest to impregnate a female and
have a child, the two brothers begin to see what
really matters in life. As an added bonus, you also
get to see Will Arnett wear very short shorts for
the entire feature.

This movie shocked me in the sense that...I haven't
laughed so hard while watching a film in quite some
time. One scene in particular made me laugh to
the point of silly, shaky giggles that even woke up my
sleeping wife. As funny as Will Arnett is (and believe
me - he has some side-ripping scenes), Will Forte
actually steals the show with his amazing dialogue
delivery and stunningly awkward smile. SNL regular
Kristen Wiig also does a bang-up job as the mother-
to-be.

If you are unsure about what flick to pick up the
next time you are browsing the comedy shelves, give
The Brothers Solomon a chance to warm your
heart and your funny-bone.

2009-02-02T10:12:00.000-08:00

Matt McKechnie interviews 'Restaurant
Makeover's Design Diva' Meredith Heron

Trying to be a little bit more about culture than just
music, I was able to conduct an interview last week
with Designer Meredith Heron (from HGTV and
the Food Network's 'Restaurant Makeover' and
'Love By Design') and ask her some q's about the
worlds of design, music and culture.

On a snowy Thursday morning with a serious lack of
caffeine, Meredith and I were able to connect after
she screened my calls and refused to answer the phone
a few times.

MM: How did you know you wanted to get into the
world of décor and design?

MH: I guess I’ve always been a naturally creative and really
hands-on person. And ya know, I’ve made mistakes
along the way. I became an elementary schoolteacher
when I was 23 but it really wasn’t my thing. I mean,
I had some outlets as a teacher and helped develop
some new curriculum but it wasn’t enough - and I
could have kept going but I was sort of dying inside.
I always had a great and innate sense of colour growing
up. At one point, I was working at Home Depot making
paints and I thought ‘I love colour and I need to do this’.
So I went back to school, took some con-ed design
courses (and I was really encouraged to do so by
everyone in my life from old teachers and colleagues
to friends and family). And from there, I started
building a client base and I went pro.

MM: How did that lead to becoming a Television
/Media figure?

MH: I actually hosted a charity event for Starlight TV and
I had a friend who was a casting agent - and everyone
seemed to like my on-screen abilities and I loved
doing it. So I was contacted from that event, did a
screen test and went on to host ‘Love By Design’ and
from that show, I met a camera man who referred me
to ‘Restaurant Makeover’.

MM: When you are chillin’, what is your
favourite music to listen to?

MH: Ya know, it depends on what I’m doing and what mood
I’m in but I went to see Duran Duran live a few months
back and it was an amazing experience. I mean – I’m 9
weeks pregnant so I can’t really party that hard but it
was still so cool. And music has a power that way. I can
be in a really bad mood and then ‘Hungry Like The
Wolf’ can come on the radio and everything is okay! I
totally love Simon Lebon so that probably helps.

MM: I’ve read that you specialize in colours and
faux finish – for those of us who aren’t design-
inclined, how would you describe faux finish?
MH: Well, faux finish is just a painting technique that lets
you make something that’s fake - like the appearance of
stone or marble or to make something look aged. I don’t
do it as much anymore unless it’s with antiquing
furniture or glazing something. I try to stay away from
sponge painting now as it sort of makes me cringe. But
that’s basically what it’s about.

MM: Does music have any effect on the way you
create a design?

MH: Actually, we are pretty big about music in the office.
(Asks her partner/husband about a band they listen to).
There is an artist named ‘Kosheen’ who we listen to a
lot of – I also love The Weepies and I love a lot of
melon-collie music; certain Coldplay songs, St Germain.
Friday afternoons at 5 pm, we have this tradition in
our office of cranking up some music. And ya know
what, I may be boxing myself here but I love Bon
Jovi . I saw them live a while back and what a show
that man puts on. We were even in nosebleed seats
and it was still amazing. So yeah – I love music.

MM: There were some internet videos where
someone imitated you a while back on
Facebook – is there a backstory there?

MH: Oh my gosh! (laughs) The story there is that the guy
making the videos was a mutual friend of my
cousin-in-law. A bunch of us went all out at the hair
of the dog pub here in Toronto (which is a pub in
the gay district in Toronto) and there was this guy
named Daniel who is a very gregarious guy who
sort of matches me in many ways AND he is a gay
Anglican priest. You can’t script that! You just can’t.
Anyways, we met the one time, exchanged things
back and forth and made some jokes about me
saying to servers and people in public ‘do you know
who I am?’ So in the videos, he was spoofing me
as we both have the same high maintenance
Starbucks drink order. Pretty hilarious.

MM: What do you think made Restaurant
Makeover so successful (especially when
you teamed up with Chef David Adjey)?

MH: In the first season, the shows were only half an hour.
But in the second season, they were bumped up to
an hour because half an hour just wasn’t enough to
show even a sliver of everything that was going on
(let alone allowing the audience to see the food) so
that helped with the success I think. And as far
David and I, I think people connected David with
us because we are…pretty much ourselves, ya know?
We are both pretty honest people and tend to tell
it like it is so I think people connected to that and
found it a little refreshing. David and I also have
stronger personalities than most and would have
stronger on-screen interactions with Igor (the head
builder) which was always fun (though sometimes
that was scripted).

MM: What would you say to future 'up and
comer' designers?

MH: Oh man. With design, I would say that you can’t
use tv as a guide for what to do or what to design. There
are a lot of hard-working people who have great design
ability but you really need to pick one area and
specialize. But you still have to be able to do multi-task
and work hard. For designers, you have to pay your
dues. If you think you’ve learned everything in a year
or two, you haven’t. There are a lot of people in this
industry who are young and impatient and sort of
encompass that millennial ‘I want it now’ generation.
Design is a business. Figure out where your strengths
are and if you’re a team player, find a firm, use an
approach that compliments your own. Don’t try to
copy something on tv (which is what happens a lot,
unfortunately). I really don’t try to emulate others -
I do my own thing and that helps a lot.

MM: Thanks so much for your time today,
Meredith.

MH: No problem.

2009-01-30T07:56:00.000-08:00

Album Review by guest writer Dave Ullrich

Artist: Andrew Vincent

Album: Rotten Pear

My high school experience was probably pretty normal.

I wasn't the nerdiest kid in the whole school, but I was also

definitely not the coolest. I ran with a quiet, law-abiding

group of friends with a slightly intellectual outsider view

of the world. Andrew Vincent seems like he could have

been part of my crew.

Rotten Pear has plenty of quiet electric guitar numbers,

Genesis-era keyboards and slightly intellectual outsider

lyrics. I get the feeling that Andrew Vincent is a thoughtful

guy that doesn't always get the good breaks. However, the

quality of this album shows he really should get some this

time around. This is my favourite new album of the year.

My basic recommendation is that you first buy this album

on Zunior, call up a few of your outsider friends, get

pizza/beer and then give it a play. It goes well on

rainy/snowy nights with people you really like. Listen to

the lyrics and roll with the mood.

- Dave Ullrich

Dave is the drummer for The Inbreds, the main musical force

of Egger, commander in chief of Zunior.com (Canada's largest

independent music download platform) and the head honcho

of the indie zine ThickSpecs.com.

2009-01-19T06:55:00.000-08:00

Interview With Dave Marsh
Published on Thickspecs.com on January 15, 2009

Finding it difficult to co-ordinate our non-meshable
schedules, Dave gracefully accepted a phone call from
me at 9:30 pm Atlantic time on a Thursday night to
talk about music, life, drum-thunder and his newest
full-length solo album 'The True Love Rules'. Dave
let me know he was just playin' a little guitar as he
had just woken up not too long ago from a late night
packed show at the Sea Horse tavern the night before).

MM: First off, thanks for making time to do this
tonight, Dave.

DM: Oh, no worries. Actually, hang on a sec, Matt –
(background talking: 'Al – you okay, there? Come on
in, man). Sorry, Matt – I'm actually just playin a little
guitar tonight and having some pizza that is being hand
delivered to me by Mr. Al Tuck.

MM: Cool! Well, in an interview I did with Jay
Ferguson, he referred to Al as a hero of the Halifax
music scene.

DM: (yells to Al) Jay Ferguson says 'Al Tuck is a hero
of the Halifax music scene'. (mumbling)

MM: Alright. What was it that first set you off down
the road of music?

DM: What – you mean like some sort of traumatic
childhood experience? (chuckles) Let's see – what
was it? I guess it was a lot of listening to the radio
and hearing these crazy big band songs. Growing up,
my parents were always having dinner parties where
music was playing and I was always into hearing what
it was. The radio was always on in my house. And it
probably helped to have a brother who would bring
home 4 or 5 awesome classic albums at a time. Those
things are probably what drew me in.

MM: Right from the beginning of 'Backstreets Thread',
the listener is taken to a pretty vivid place. Are these
real people and real places all throughout this song
and this album?

DM: Yeah man, it's all full of real stories and real
characters. In fact, 'Backstreets Thread' is a straight-up
nostalgic story about workin at the arcade with
childhood friends. It's pretty cool that some of those
same friends were at the show we played at the Sea
Horse last night.

MM: I'm sure this is a question that many of your
drum-wizardry students want to know: How do you
get that gloriously thunderous snare sound in 'The Way
We Live Today' and in some of your other songs?

DM: When the snare works well, it's all about timing,
a little rimshot and the perfect blend of wood and
metal. The rimshot is what gives it that sort of
metallic sound. Joel gave me a 1963, 25 dollar Kent
snare drum that we affectionately call 'Bluey' and it
gives us a lot of that solid sound. The dryer stuff was
recorded with a bigger Ludwig snare that I have
(which we hooked a few mics up to and covered with
a dishtowel to dampen it).

MM: I really first heard about your upfront
musicality on the Super Friendz album 'Love Energy'
(especially on 'Good To Feel Like'). Had you written
and recorded your own original material before?

DM: Yeah, actually. Even before The Super Friendz,
I had my own band named 'No Damn Fears' which
was basically...well...it was 'my' band. I wrote the
songs. It was a pretty killer line-up too. We had
Sloan's Andrew Scott on drums, Matt Murphy on
guitar and Jennifer Pierce who went on to do stuff
with Jale and sign with Sub-Pop. Anyways, that band
featured mostly my songwriting but after that, I
kinda went full-time into exploding and rocking the
skins for The Friendz and Joel in '99.

MM: So is this going to be a common occurrence for
you to write and record your own stuff? And does
Joel 'boss man' Plaskett mind if you take time off?

DM: Ha ha, no – Joel actually encourages me to do
that stuff so he can take time to do his own solo stuff
as well. In fact, right now, he's working on sort of a
three-parter production with his dad. So no – there's
no tension there at all. We'll see how things go with
this album. I'm going to be coming to Toronto in
March to promote it and play some shows.

MM: Have you ever had a nickname in music and if
not, how do you like the sound of 'The Wizard of
Whack'?

DM: (laughs raspily) That's awesome, man! I dig it.
I used to think Sultan of Swat was cool but I'll gladly
take 'Wizard Of Whack'.

MM: On a personal note, with over 20 years
experience as a pro musician, how do you feel about
the modern pop-music marketplace as opposed to
the pop music of the 70's and 80's?

DM: Oh man. I don't know. I mean, my experience
with success kinda only runs from point A to point B.
How some of these bands get to where they are – I
have no fuckin' clue. I guess it's still kinda the same,
ya know? You go out, you see shows and as a musician,
you gotta play shows to get out there. As per
mainstream stuff, I really don't have much time for
the same old Bob Seger songs and the over-digitalized
bullshit of today. Here in Halifax, I mostly just listen
to Suicide FM – it's sorta this radical old-folks station
that plays tunes for Gramps like Bing Crosby and
Ella Fitzgerald but every song is a box of chocolates.

MM: And finally, how do you generally kick so much
drumming arse?

DM: (sighs) Oh, Matt – Why is the sky blue? If dogs
run free, why can't I? (laughs) All of it came pretty
naturally. I mean, I did (at one point in my life) have
to spend an entire summer inside working on the skins
to really get a feel for them. In fact, my brother made
me my first set of drumsticks and they were really thick
and heavy sticks, man. So I figured 'If I can play with
these, everything else will feel like feathers!' I've had
a lot of luck, though, and playing with amazing
musicians like Matt Murphy and Joel Plaskett has
definitely helped. Having good material to play is
always key.

2009-01-12T08:08:00.001-08:00

(Just In Case You Missed It...)

Top 10 Albums of 2008

10. Death Cab For Cutie - Narrow Stairs

They're Death Cab For Friggin' Cutie, okay? They had to
sneak in there. Honestly, I think I fell in love with the
bright, melodic riffs and hooks of this well-produced album
in the first few months after it was released. Since then,
though, I've found myself becoming more un-stunned by
its plain nature. If I wrote this list back in May, though,
this album would have made number one. There's something
that becomes a little 'ho-hum' about this work the more
it rotates in my stereo. But still - come on - they made
the cut. They're Death Cab For FREAKING Cutie.
Who releases an 8 minute song as their first single?
I'll tell you who - Death Cab For FU*KING CUTIE!

9. Mark Knopfler & Emmy Lou Harris - All The Roadrunning

I've had a bit of a 'thing' for Mark Knopfler for some time, now.
I have always had a deep respect for his style of guitar-ism
when he was with Dire Straits and although this was a choice
of my wife's when she was cruising through some new releases,
this album deserves a little street cred. Emmy Lou sings
her blessed little heart out and Mark rasps along beside
her and plucks away at his tempered, steely guitar sound.
This album is a little short on depth but long on listening
pleasure. It is served best on a highway (preferrably an
interstate) with long stretches of flat, prairie land.

8. Sigur Ros - Meo Suo I Eyrum Vio Spilum Endalaust

Despite some hilarious personal references to album art
on the cover and the fact that this album came out in the
summer (ahem), Sigur Ros (though they intimidate the heck
out of me with their weird, non-existent Icelandic
dialogue) continues to do what they do best. They build
soundscapes and life theme-songs that are unparallel
with any other artist of today (save for maybe Radiohead).
My wife bought this album and although I have only
heard its full spool-through a few times, it is a conceptually
beautiful collection of music. I just wish I could understand
whatever it is that they're talking about...but maybe I
don't need to? Therein lies the beauty and the mystery of
Sigur Ros.

7. Stars - Sad Robots (EP)

This was a bit of a difficult album to put in my top 10,
seeing as:

a. It's not really an album - it's an EP

b. I don't even know if anybody heard about it
because it was released super-silently.

Regardless, though, seeing Torq Cambell and Miss Millan
live a few months back at the Bronson Centre made my
decision as clear as day. I hadn't heard any songs on this
EP before seeing the show...and that's what made them
as bold and intense as they are. 'A Thread Cut With A
Carving Knife' is, in my opinion, on the best Stars' songs
of all time as it builds, changes and thrusts into an
oblivion of textured instrumentation and passionate
vocals about living for today. As soap-boxy as he can
be at times, Torq Campbell is a prime performer who wants
his listeners to notice their surroundings, as opposed to
the 'sad robots' whom we all know and come into contact
with from time to time.

6. Sloan - Parallel Play

The boys are back in town - or were back in town with the
release of this new Andrew-heavy disc. After interviewing
Jay Ferguson back in the spring about Sloan, where they've
come from and where they are going, I couldn't help but
appreciate this well layered work that basically sums up
the band's existence to date. Chris Murphy drives the
balls-out rock train, Andrew labours and crafts away
intensely at his weird yet wizardly songs, Patrick blasts
his arena-rock fuzz for all to love and wave their arms
to and Jay Ferguson carefully plucks flowers in the field
of his mind where he smokes out cinammon puffs from
the candy cigarettes that are his songs. All in all, for a band
I've admired for over a decade now, this is a 'piece de
resistance' from Sloan to date and it worth a
serious listen.

5. Weezer - The Red Album

True to their form, Weezer continues to be a curveball or
slider pitch of the music world. You just never know what
you'll get with these guys. Stepping back from being a
creative control freak, Cuomo actually let some of the
other bandmates write some songs of this album...and
they're actually decent! Honestly, though, the song that
sold me on this disc was 'Pork And Beans' as it pretty
much sums up Rivers Cuomo's entire philosophy about
the music industry:
'I'm gonna do the things that I want do/
I ain't got a thing to prove to you/...'
I just love how millions of music-snobs look at the way
these guys do their thing and say 'What the...?' and yet
they still remain successful. Go get 'em, Weez. Whenever
you finish your tour of primary colours for album names,
I'll still be listening.

4. Brendan Canning - Something For All Of Us

I know - Broken Social Scene brain-washed me and pays
me to write good reviews of their music. Ha ha. Funny.
The reality is that seldom few can create such an anamoly
of and array of sound like these folks can. Brendan
Canning, too, stepped up as more of a background bassist
and released a front-man batch of very well-crafted songs.
Sometimes, the feel of this album rests a little too heavy
on the shoulders of older Girls Against Boys tunes but
that's just fine with me. Most of the songs are driven
by terse, driving bass-lines (sometimes distorted,
sometimes not) but they all usually explode into some
epiphany of sound. Canning's disparate and patchy lyrics
are all about community as he truly doles out 'Something
For All Of Us'.

3. Coldplay - Viva La Vida/Prospekt's March

Coldplay! I KNOW! I'm such a massive sell-out. It's disgusting.
Despite being pegged by Pitchfork as 'yet another band who
sold out to sound engineer Brian Eno to change their creative
direction', say what you will - but we all know that Coldplay
has it where it counts. I was expecting to be VERY
hum-drummed by this release but I've found that it gets
more play in my iPod than many other artists. The intricately
digitalized songs of this album have an unparallel sound that
I crave a lot of the time. Chris Martin and crew are incredibly
good at what they do and they have done very well to evade
any sort of traps of the music industry. Ask anyone who has
attended a recent liveshow and they'll all say the same thing -
'The quality of sound made it seem like a live playing of the
album except way louder and WAY better.' There may
not be much room for live improv...but to have millions of
people say the same thing about their live performances
is pretty friggin' incredible.

2. Silver Speakers - Streetlights And Stars

Conflict of interest? Reviewing an artist who is on my record
label? I don't give a DAMN. Yeah, that's right. Suck it.
Tyrone Warner is a great song-writer and deserves some
just desserts. In a tiny Toronto beer-garden-like pub, back
in September, I got the chance to hear the live cd release
of this album and it has vacuumed my sub-conscious ever
since. Each word drips with meaning and the songs are
rife with faith-searching 'meaning of life' type stuff. 'Are You
Only In My Head' is one of most hauntingly beautiful songs
I have ever heard as the guitars and keys cascade the listener
through a valley of sound and light. The only reasons why
I couldn't give SS the #1 nod are...well...obviously, he's a
friend of mine and that's a little bias...and because he was
forced (due to resource restraints) to use a drum machine
which draws away from the magnificence of the songs, at
times. Better luck next year, T-money.

1. Matt Mays & El Torpedo - Terminal Romance

I know what you're thinking and the answer is 'No! - I don't
only review East-Coast artists or musicians I've interviewed'
okay? Back off. There just really wasn't a massive number
of albums released this year...but THIS one by THIS dude
takes the cake of rock and eats it, wholesale - candles and
all. Pulling a reverse of what 'Narrow Stairs' did to me,
I didn't really care much for this album when I first heard
it. The fabric of Great Canadian ballad-rock, though, weaves
this album together into a finely tangled mesh of sweaty shirts
and plaid-jacket, pine-tree highway visions. Matt Mays
has shown, once again, that he is a superbly talented
songwriter and speaks of the traps that are romances
which have become disastrous diseases. What I love most
about this album and MM&ET, though, is that Matt is never
trying to be something he is not.
He is a rocker - through and through. In an interview I
conducted with him (that he later invited me to the show
afterwards), he said 'I just love guitar riffs, man. Is that
wrong?' This album blasts out of the gate with the throat-
ramming riff that brings 'Building A Boat' to life and
trucks full throttle right into the Springsteen-esque
ballad mid-point of 'Terminal Romance' and keeps a-rollin.
This album is not for the folky hyper-instrumentalized
Sufjan lovers or for the indie-whistling 'everyone-wants-
to-be-the-flaming-lips' listeners either. It is heavy like
lead - and it will change you.

2008-11-07T13:22:00.000-08:00

Broken Social Scene live at the Bronson Centre

Since the Island festival concert of 2006 in Toronto, I hadn't seen
BSS play a live show. Up until that point, in fact, my life had been
completely BSS-less. (Many people think I have been possessed or
drugged by the members of the band to write gold about them.)
On October 25th, I had the chance to see Broken Social Scene for
a second time in a live setting. For all of their grandeur and
media-projected hype, one thing is certain; any band who can
keep an audience entranced for nearly three hours can project
any kind of hype they want.

The night started with a long line as my wife and I met a few
of our concert-going amigos (Dan and Emily) who had already been
standing for a few hours in the cold October night. With two other
random people appearances (one I won't mention and the other was
Marc-Andre and his wacky caffeine-guzzling school friends) while the
four of us tried to stay warm, Brendan Canning walked by us and
high-fived a few cheering line-standers. A few minutes after,
Kevin Drew, Andrew Whiteman and a few others walked by going
the other direction as Canning. After a few false alarms, the line
started to seep in. We found some sweet seats and were pleased to
see that the Bronson centre was an all-sitting venue.

Land Of Talk opened. Chick rock mediocrity. And then it happened.
BSS took over the stage in full throttle. Ripping into '7/4 Shoreline'
only 3 songs in seemed to be somewhat of an early trap door that left
me wondering 'Where are they gonna go from here?' What was
ultra-cool about the communal aspect of Broken Social that night,
though, was that each member with a solo record got to showcase a
bit of their own material with the band backing them.

Andrew 'Apostle Of Hustle' Whiteman seemed a little surprised
when Kevin Drew motioned for Andrew, Brendan and the drummer
(Justin) to stay on stage and everyone else to leave. The song, however,
came to life with only three musicians playing ('National Anthem Of
Nowhere') and helped re-ignite my love for The Apostle's straight-ahead,
guitar-driven, drum-thumping style (and of course swelled when the horn
section re-appeared for the climactic ending along with Kevin adding
in another layer of guitar).

Brendan Canning (the unsung leader of the band and bassist) also
stepped up to bat for a few of his solo album tracks such as 'Hit The
Wall' and 'Churches Under The Stairs'. Though he didn't seem as
confident as the others, his songs carried and filled up sonic space
with their builds and bass-driven tempos. Canning was one of the most
interesting players to watch for the duration of the evening.

Another ingredient to the batch was Sammy Goldberg who performed
one of his songs (which Drew called 'a real bump-and-grinder') titled
'A Hundred Thousand Miles'. It was apparently the extra guitarist
and bassist's first time playing the song for his wife (who was in the
audience that night). This was one of the most awkwardly un-fitting
moments of the night...but somehow, it still worked.

One of the highlights of the evening (and 'weird-lights' if I can coin a
phrase) was Charles Spearin's science project. He had taped his
neighbour (who had a seriously thick Jamaican accent) talking about
'happiness'. He played the tape once so the audience could hear the
interesting inflections in the lady's voice. On the second play-through,
Charles called the main sax player back to the stage who then replicated
the exact sounds of the lady's speech (note for note) alongside of the
lady's talking.

Stepping into some rather big shoes that night was Elizabeth Powell
from the opening band 'Land Of Talk'. Powell not only put on a decent
set with her two bandmates for the opener but then proceeded to sing
all of the female vocal parts for every BSS song that night (obviously,
with the fame of Millan, Haines and Lady Feist, they can't all make it
to every BSS show).

Overall, the band seemed a bit tired (as the usually disheveled looking
Kevin Drew belted out his vocals and pelvic-ized against the mic stand) but
they pulled it together when it counted. For big finishes on big songs (like
'It's All Gonna Break' which was the first of 2 options given to the crowd
for a choice of encore), they ramped it up, brought out the horns, Charles
Spearin switched from guitar to brass, Sammy Goldberg would point
his instrument into the crowd like a gun, Whiteman would jump around
and kick a lot, Peroff would beat the hell out of the skins, Canning would
just jump in place and flop his hair about and Drew would turn red from
wailing. I think the magic of this band is that they each bring something
to the table of the feast of a live performance and cause the crowd to
want to see what each member is doing at any given moment.

Almost three hours after starting, Drew claimed 'This is the last of these
shows we'll be doing, where we play our old stuff, for a while...so thank
you for coming. It means a lot'. Obviously, every band has to navigate
through new terrain but that statement left me thinking that move was
perhaps a little premature and pretentious on the band's part. I mean,
really - if Radiohead can still play live songs from 'The Bends' twelve
years after the fact, I think that BSS can manage a few 6 year old songs.
Time and time again, though, Broken Social has proven that despite
the hype, they can deliver when it comes to live performances.

Who knows what the future will hold for BSS - but October 25th was a
night I won't soon forget.

2008-11-01T14:33:00.000-07:00

(Broken Social Scene Presents) Brendan Canning
Something For All Of Us

It’s hard to look outside the umbrella of the Arts & Crafts
label these days as its spread seems to be rather all-encompassing.
With an army of able-bodied and hyper-creative musicians at
their disposal, it’s hard not to get sucked into the vortex-like
vibe that A&C projects as it draws on so many attractive features
of music; community, male and female artists, varied
instrumentation, artist cross-contribution on different
projects, twenty performer live shows, etc. It’s no wonder
why we can’t seem to find our way out from under the
umbrella – we like the look of things underneath it (and
it’s also just…a massive umbrella).

Brendan Canning released ‘Something For All Of Us’ (the
second solo offering in a series of ‘Broken Social Scene
Presents’ albums) in July. Upon an initial internet album
leak, Brendan left a note on the A & C website detailing
that he was none too pleased with the song-thief. Despite
the leak, the album shows a mitt full of swelling, sonically
layered songs that have needed to get out of Mister
Canning for some time now. As the bus-driving bassist
of BSS, many of the songs have the bass-line right up
front in the mix, pushing the song onward. ‘Hit The
Wall’ is one these bass-driven beauties that makes you
feel like hopping into your station wagon and finding an
expressway at nightfall. With sparse yet hypnotic
guitar-picking parts laced on top of the track, its
‘what-will-happen-next’ feel keeps the listener linked
into the song’s speeding inner-wheel. The ending
overture of ‘Hit The Wall’ seems to present the idea
of someone who has left a lot of people behind as the
refrain repeats:
'You used to have it all and it's all gone'

Though it can be difficult to understand the message
(and sometimes even make out the words behind the
vocal filters) of Brendan’s songs, one thing is certain;
Brendan invests himself into each song and sets a
community-centered scene. Whether it’s the
wintry-mellow acoustic setting of ‘Snowballs And Icicles’
or the melodic vocals of his buddies Kevin Drew
and Feist on ‘Churches Under The Stairs’, the tracks
not only feature Brendan’s talents but the talents of
his friends and his musical community.

Unfortunately for the reader, it seems that I’ve been
enjoying more and more of what I listen to these days.
Now, I know it’s always fun to point a finger, chuckle
and read about an album getting ripped to shreds by
predatory music reviewers - but take heed; a good
review (when done objectively) is a good thing. It might
even mean that there is still hope for good music. As
the title of the album would indicate, Brendan Canning
indeed lets us know that there just might be
‘Something For All Of Us’ within these songs.

2008-10-20T19:56:00.000-07:00

Sloan
Parallel Play

When the boys in the band of Sloan asked their manager
‘Chip’ Sutherland if they should re-record their whole album
‘Twice Removed’ for the marketing purposes of Geffen
Records back in 1993, Chip told the boys to tell Geffen to
‘go and f**k themselves’. Chip passionately pleaded with
Sloan to follow the path of integrity and to not worry about
the specifics of what a label wanted them to be as the band
knew, full well, that they had recorded a dynamite record.
God bless the Chip Sutherlands of the world. (You can read
more about the whole story in the book ‘Have Not Been The
Same’).

Fifteen years later, Sloan has never had to tow the party line
or dip into diplomacy. They have done things the way they
wanted to from the word ‘go’ and have made a watermark
career of it. Released earlier in the summer, the album
‘Parallel Play’ insists a re-visitation from both Sloan
listeners and non-listeners alike. Throughout the album,
the band veers and careens through their usual
ultra-harmonied/power-pop/arena rock antics.
Boasting a four man songwriting front to an all-out electrical
rock storm, ‘Parallel Play’ is another bright service station
along the highway of their career. The song ‘All I Am Is All
You’re Not’ displays Chris Murphy’s witty wordplay and
disdain for the music industry along with a powerful refrain
that catches a melodic snag in the fabric of the listener’s head:
We opened up the lines to first time callers
When we should have been holding the lines
I want to shout it out to long time listeners
To private conversations of mine…
All I am is all you’re not
All I want is all you’ve got

As a diametrically opposed cohort to the rebel rousing
Murphy, Jay Ferguson lights up his usual cinnamon-cigarette
pop songs that sound sweet and leave you humming all day
(‘Witches Wand’ is a great example). Patrick Pentland also
kicks track one of the album through the uprights of glory
with waves of sonic rock guitar-work in the hit single
‘Believe In Me’. Most intriguing of the four fingers, though,
is (and always has been) Andrew Scott. For Sloan fans, it is
always a hot topic to see which of the four will have the most
songs on any given record. ‘Parallel Play’ lets Andrew win
the battle with four of his raw-hearted blues-based tunes
(such as ‘Down In The Basement’ that takes us back to the
humble beginnings of the band).

More important than the music of this album, though, is
the message behind the medium; staying power speaks
volumes. At a recent live performance by Canadian Rock
gurus The Tragically Hip that my brother attended (where
Dan Aykroyd actually got up on stage and played harmonica
with them), lead singer Gord Downie stated ‘You know – it’s
no secret that we’re not the best musicians in the world. If
you write music, stick with it, stick with it, and stick with it.
If you hang around and stick with it and keep working at
the craft long enough, you just might get some notice.’ Sloan
has stuck with it and ‘Parallel Play’ is a rocked-out and
popped-out treat to the ears and the passionate listener
who longs for more than what the industry is giving back.

2008-04-06T10:01:00.000-07:00

Murderecords Re-Launch (Part 1 of 2)

Murderecords – the label, the myth, the legend. Starting
way back in 1992, it was a dream of Chris Murphy, Jay
Ferguson, Patrick Pentland and Andrew Scott to start up
a label that promoted good independent music and, more
specifically, musical talent within their immediate
community of Halifax. At different times, the label
featured such omni-talented acts as Eric’s Trip, The
Inbreds, Jale, Hardship Post, Thrush Hermit, The Super
Friendz and of course Sloan, themselves. Whilst running
their ‘utopian’ business, however, Sloan came to a few
dastardly realizations:

1. Money wasn’t really coming in…at all.
2. The market was limited to Canada.
3. By giving bands (friends included) the option to leave
your label, they always will.

Even when things were looking up for Sloan and the
Murderecords saga, and Murphy and his men were able to
partner with the American label The Enclave (which released
‘One Chord To Another’ in the U.S.), things went further
downhill as The Enclave was shut down a few short months
later when its parent company decided to sell itself. Post
1997, Sloan decided to keep Murderecords alive only as a
vehicle for Sloan alone. And so it seemed the Murderecords
saga had ended and the book was closed for good.

Over a decade later, Murderecords has decided to
re-launch within Sloan’s new and much larger home field –
Toronto. They have already signed a few friendly and
talented acts to the lonely roster; Will Currie and The
Country French, Pony Da Look and the possibility a
few more (who are apparently ‘in talks’). I write the
word ‘apparently’ because there is limited and somewhat
mysterious information as to why Sloan and friends are
re-attempting to run an active record label. In an
interview with the National Post that can be read here,
Chris Murphy stated "I just want it to be a safe place for
our friends so they don't get ripped off…I want to smash
the guy in his mouth who pats himself on the back in
print about how indie he is. I just think it's going to be
cool-that's all."

Hopefully, a safe place is what the new
Murderecords will be – oh yeah – that and a label that
actually does well at selling, promoting and releasing
its artists. From a skeptic perspective, it could be a dicey
move for Sloan and friends but kudos to them for taking
this new step into somewhat familiar territory with a fresh
perspective. This time around, hopefully they won’t be
burned.

I’ll be interviewing Jay Ferguson of Sloan later this
week for Thick Specs about the re-launch of Murderecords.
Hopefully, the interview (which I’m looking forward to)
will help to shed some light on the topic and dispel some
nasty rumours. Stay tuned.

2008-03-27T14:46:00.000-07:00

Stephen Malkmus & The Jicks
Real Emotional Trash

If I could write music the way Stephen Malkmus does,
in his raw, original and multi-faceted form, I would.
The problem is I don’t have the musical abyss of a mind
that he does…and I wasn’t a History major in school.
For many, the first time they heard a Pavement or
Stephen Malkmus track was most likely a traumatic
experience. I can vividly recall the first time I heard
the song ‘Cut Your Hair’ by Pavement from the Crooked
Rain, Crooked Rain album. I wincingly thought the song
was weird and was annoyed by Stephen’s songwriting
style and chaotic, ad-lib vocalizing. Unfortunately for
me, ‘Cut Your Hair’ sounded nothing like the rest of
the album, or any other Pavement song and was, in
fact, their closest brush with the mainstream. Oddly
enough, something changed in my heart along the
way and today I celebrate Stephen Malkmus’ entire
catalogue, both with and without Pavement.

In the truest sense of the term, Stephen Malkmus is a
freestyle musician who transcends borders, categories,
boundaries and demographics in order to convey the
weirdness and simplicity of his art. His newest release
‘Real Emotional Trash’ is no exception to that rule. As
Stephen’s fourth major solo release since the demolition
of Pavement (with his band The Jicks), the album
conveys the tensions and oddities that Stephen holds
dear within his own strange and fragmented world.
‘Dragonfly Pie’ opens with an attitudinal guitar riff that
sounds like it could be the main lick of an early Mudhoney
song, coming out of a blown amp. The lyrical theme
overrides the musical burn as Malkmus echoes the
deep realization of the refrain over and over:
‘Can’t be what you want to be /
Gotta be what your oughtta be’.

‘Cold Son’ is the first single off the album and nicely
displays Malkmus’ simple poppy side and penchant
for wordplay. The album title track ‘Real Emotional
Trash’ is an incredible 10 minute powerhouse of
augmented lyricism that focuses on Stephen’s salt
of the earth people adoration (‘Point me in the direction
of your real emotional trash’). The song features
everything from SM’s signature clean electric picking
to Piano to 70’s organ tones and changes tempo
three or four times.

Make no mistake – Stephen Malkmus is a
de-constructionist. This can be clearly viewed on
the well-crafted track ‘We Can’t Help You’ that
actually pokes fun at the ridiculousness of the
post-modern ideal:
‘There’s no common goal / There’s no moral action
There’s no modern age in which to run away
There’s no grace and love / without no projection
There’s no sky above for you to cry into
We can’t help you.’

It’s obvious that I’m a little biased here but being a
listener and a fan of SM for over 13 years, it’s
understandable to me that the common palate does
not jibe well with his musical and lyrical flavour. In
fact, his song-writing is often so slob-rocky and choppy
that it can sound amateur-ish when compared to the
sleek, shrink-wrapped musical markets of today.
Fortunately, SM has it where it counts and doesn’t
really care about his lack of radio play. He has an
adoring listener base that spans across many
generations and musical demographics. He has been
pegged (although Stephen himself denies it) as
possibly the pioneer of the ‘indie’ movement. He is
so well respected and known within the music industry,
in fact, that his voice can be currently heard as Cate
Blanchett’s singing voice in the new Todd Haynes film
about Bob Dylan entitled ‘I’m Not There’.

For an original musical ride and nice intro to the work
of Stephen Malkmus, I would suggest you pick up
‘Real Emotional Trash’ (and the ITunes version comes
with a bonus track) and then work your way backwards,
deep into the catacombs of his collection.

2008-03-13T21:03:00.000-07:00

Foo Fighters
Echoes, Silence, Patience & Grace

It feels like I have been to this place before. The place
I speak of is one of distrust, malcontent and utter irritability
with the status of modern music review. I base this
hypothesis out of many modern reviews I’ve read but there
is one in particular I’d like to run up the flagpole. Before I
get to that, though, I will not (as a friend and colleague once
told me) let the review in question get any glory – I will
let them hang. I’m warning you now that this review will
be much longer than my usual writing but I feel that there
is much to be said on this subject.

In October of 2007, The Foo Fighters released their
newest offering entitled ‘Echoes, Silence, Patience and
Grace’. Before I get into the dough of that bread, however,
I feel it is necessary to briefly touch on the history and
saga of Dave Grohl. Being a fan of the Foos since their
pre-1995 humble beginnings (when Dave Grohl made
a demo tape to attract other musicians that ended up
being released as the Foos first self-titled album), I was
actually never a massive follower of Nirvana. I liked
them and I dug the raw feel of ‘In Utero’ but I was
never a huge believer. Since the haze of those Seattle
days, Dave has arguably been the most successful musician
that has moved from being a drummer to a front man
(with possibly the exception of Phil Collins. Okay, I’m
kidding).

Apparently, there are over a thousand people who
check out BWC on a daily basis. It’s awesome to think
that there is a readership out there that is devoted
to dissecting truth with a Jesus-based worldview.
Unfortunately, so many people who know no better
look to major magazines and releases to find the critical
truth – Rolling Stone, SPIN, Pitchfork, etc. If you are
a reader of the BWC or just a first time checker-outer,
I hope you get the sense that BWC folks write from the
heart within this publication. I hope that it’s understood
that when I write the phrase ‘ESPG is a solidly
constructed album and one of the Foos more diverse
works’, I write that from the heart and I am not getting
paid to type that. It just needed to be said.

On ESPG, Dave, Taylor, Chris and Nate take a varied
approach to songwriting. Though Dave is in the lead (as
per usual), you get the sense that the band is taking a
deeper philosophical breath as they rock hyper-ish at
times but kick back mellow-ish at others. ‘The Pretenders’
is nowhere near one of the best songs on this album and
honestly, I have no idea why Dave and the boys released
this as their first single. There are some amazing tracks
on this disc that gave me shivers the first time I heard
them and still do to this day. ‘Long Road To Ruin’ is a
great rock-pop anthem that speaks of the long road
ahead that we will all, most likely, make mistakes upon
while we drive on it (the video for this song is actually
pretty humourous and par for the course with Grohl’s
comedic persona). ‘Come Alive’ is one of the best songs
I’ve heard in years and though it gets a little edgy and
loud for modern trends (that mostly feature bands with
a token female singer and xylophone), there is hardly
a soul who can not relate to watching a friend or loved
one dwindle on the tip of his or her true potential.

‘Cheer Up Boys (Your Make Up Is Running)’ is probably
my favourite song out of the whole disc. It features
everything the Foos do well – the harder guitar and
drum edge but with a poppy, light tone that any listener
could bob their head along with. The idea behind the
song really speaks for itself – in an age where so many
musicians thrive on an image of being sad, gothic and
cosmetically downtrodden, Dave is speaking to the evils
of teenage influence that focus too much on the downside
of life:
‘Stop Using My Confusion
Wait…Wait…
There’s a world out there
Don’t you deny me’

The ill album review I referenced earlier is one that
surfaced directly after the release of ESPG in SPIN
Magazine. In this disgrace of a review (and really…I’m
being generous with that wording), the writer goes on
to sloppily compare a few new songs on the album with
older Foo hits from previous releases: “"The Pretenders"
is "Stacked Actors," even down to the lyrics decrying
phonies; and if you've heard "My Hero," you've got a
good idea what "Statues" sounds like.” Wow. The
comparison of those tracks is so far off kilter that’s it’s
almost as if this reviewer was listening to an entirely
different album. Though there are some lyrical
similarities between ‘Stacked Actors’ and ‘The Pretenders’,
the former is much more of a snapshot of the bleach-blonde
industry posers whereas ‘The Pretenders’ is about staying
power amidst one hit wonders. The songs, however, are
quite different from a sonic standpoint. As far as the
comparison of ‘My Hero’ and ‘Statues’…I’m somewhat
shoulder-shrugged. ‘My Hero’ is a song that begins with
a throbbing drum track and moves into a powerful blast
of bass and guitar-throttle. ‘Statues’ is a mellow ballad
that Dave croons upon while playing piano. I’m actually
being serious – I’m not making this up. Have a listen for
yourselves.

Finally, the reviewer actually makes a reference to Dave
Grohl’s career thus far as being ‘fantastically average’. I
might take that statement a little more seriously if I
believed the writer even had one decent listen-through
to the album in question.

The Foo Fighters don’t write the best songs ever made
and they would be the first ones to admit that. Amidst the
smoke and mirrors of the musical marketplace, though,
Dave Grohl has some depth and although it’s usually
only hinted at, it is still there. Unfortunately, since the
monster of Nirvana has been painted and pedestalized in
such an unfair and uneven light, Dave has had to live
with the burden of trying please old Nirvana fans and
critics from day one. As the Nirvana bassist Krist
Novoselic once said ‘Dave has had to find his way out
of the jungle of Nirvana with a machete…but I think he
has done pretty well.’

It would be ideal to find out more about the personal
lives of musicians and here on BWC, there is often a
moral undertone amidst all of the post-modern ramblings.
I don’t know if Dave Grohl knows God – maybe he does
in a way I’ll never understand or maybe he has chosen
another road. Though major magazines wouldn’t see
this as ‘good copy’ and usually don’t care, I care.

After years of listening to Dave’s music, what I can surmise
is that he is someone on a valid search - he tries to stay
out of the tabloids and believes in the value of people. In
fact, the one green marker that the SPIN review actually
got shallowly correct was the rating of ‘The Ballad of the
Beaconsfield Miners’ as a beautiful ‘bluegrass instrumental
that is an oasis’ of sorts. What the mediocre reviewer failed
to engage, however, is the story behind that song which
can be read about here. It basically speaks of Dave Grohl
helping two men who were stuck in the Beaconsfield Mine
Collapse, sending them mp3 players filled with Foo
Fighters music and other tunes, offering them free tickets
to a show and to meet up personally with them, and the
creation of that very song while Dave jammed later that
night and promised the one miner who came that ‘it would
be a song on their new record’. The new record would, in fact,
be one entitled ‘Echoes, Silence, Patience and Grace’. (But you
know – pretty boring, average story. No need to mention
that in a major magazine.)

2008-02-03T08:57:00.000-08:00

JIMMY EAT WORLD - Chase This Light

The newest offering from Jimmy Eat World, entitled 'Chase This Light',
contains as many questions as it does answers. For just over a decade
now, fearless alt-rock bandleader Jim Adkins (who apparently created
Emo?) has crafted a sound that is unique, crisp and ultimately over
produced as it boasts ultra-tight stops and starts, power pop guitar
riffs and songs that have staying power within both the indie and
mainstream music scenes. How does old Jimmy do it?

'Chase This Light' is more of the same from Jimmy Eat World but
is still, and almost impossibly, taken up another notch. The lead off
track and radio hit 'Big Casino' has already jammed so many major radio
frequencies with its convalescent pop sound that it’s almost become
a certainty that you’ll hear it on a 10 minute drive (if you do, in fact,
drive with the radio on). ‘Big Casino’ showcases driving electric guitar,
throttling drums and Adkins' trademark jittery, passionate vocal
chords. Though the words of the song have been debated through
several zines as a first person story about Adkins, it is more of an
informed opinion that the song is actually a fictitious story about an
average joe character from Jersey who dreams of striking it rich
(as Adkins, himself, was born in Mesa, Arizona):

I'll accept with poise with grace/
When they draw my name from the lottery/
And they'll say "all the salt in the world couldnt melt that ice"/
I'm the one who gets away/I'm a New Jersey success story/
And they'll say "Lord give me the chance to shake that hand"/
They'll say/

The song, though, seems to be more layered than what a first glimpse
would indicate. Oddly enough, 'Go Big Casino' has been the title of a
somewhat secretive musical side project of Adkins for years. Though
there are some other decent songs on the album (i.e Let It Happen,
Gotta Be Somebody's Blues, Carry You), the standouts and possibly
thematic emblems of the album lie in 'Big Casino' and the title track
'Chase This Light' which speaks of the inevitable clock of life over a
bed of soothing guitar-scapes: “Tonight, Chase This Light with me...
my life is yours, in your gifted hands”.

It could be clearly stated that Jim and the boys are no longer just
rock icons screaming about injustice – they are thinking about and
dwelling upon the uncertainty of life. ‘Big Casino’ seems to be less
of a song and more of a theme for the album and perhaps the song
title, itself, refers to the wavering faith our society places within the
power of money. Perhaps the theme of the song was Jim’s original
idea in the creation of his musical side project – perhaps it’s totally
off the mark.

But what stands out about 'Chase This Light' in a time
where creative music is at its distributional peak? What will make
both fans and non-fans of Jimmy Eat World buy this album? One
word comes to mind; Integrity. Jim Adkins has stayed true to his
form and style of song-writing, (though lessening a little on the
experimental side since early JEW tracks like the 9 minute epic
'Sky Harbour') sticking more to the straight ahead values of
displaying a message through a highly accessible medium. In a
sense, it could be argued that 'Chase This Light' is representative
of Adkins and the band - they have never stopped chasing the
light that started all of them down the road of music. On the
album back cover artwork, the light is displayed in the form of a
lit match which may indicate, on an even deeper level, that
Adkins and crew know just how powerful that light really is...and
just how quickly it can disappear.

2007-12-13T19:21:00.000-08:00

Matty's Top 10 Picks of 2007

10. Smashing Pumpkins - Zeitgeist
Many critics called this album a moneygrab but by listening to
tracks like 'Thats The Way (My Love Is)', it is evident that the
heart of SP is in this production, even though James Iha and
D'arcy didn't make the reunion. Highly touted and advertised
through MySpace blogs, this album actually has some depth
and as the term 'Zeitgeist' defined tells us, the Pumpkins are
back and not so introspective; they are taking notice of the
cultural climate of the United States.

9. Feist - The Reminder
Leslie Feist follows up her first major release by topping her
sundae of success with a cherry of musical delights. Though I
wish some of the tracks were less effects-heavy (i.e. sounding
like Feist is singing under a tunnel through a cardboard tube),
The Reminder shows us that Leslie is out to remind us about
the meaning of love, sacrifice and truth.

8. The New Pornographers - Challengers
Though Vancouver natives TNP struggle to make true art in
the face of critics wanting so eagerly to define them as a
'supergroup', this album's climaxes seem a little premature
at times. Overall though, there are few on the market who
can construct such humm-able melodies as The New Porns.
This album also showcases the talent of Neko Case a little
more effectively than Twin Cinema.

7. Kevin Drew - Spirit If...
I can't even count the number of times I have read reviews
where critics (especially in Canada) complain about the
Arts and Crafts label having 'carte blanche' on Canadian radio.
My response is simply 'Show me another musical troupe that
rivals the passion and creativity of Drew and his band of
Toronto nomads'. Though Drew tends to drool on himself
with his stream of consciousness drivel, the end result of his
solo effort is satisfying and bright.

6. Foo Fighters - Echoes, Silence, Patience and Grace
Davey G and the crew are back for another multiple guitar
track laden effort...and it's really friggin good. Though SPIN
Magazine panned this newest offering and actually referred
to Grohl's career as 'fantastically average', I beg to differ
and suggest that SPIN needs to hire some new writers.
Dave bookends his passion on every corner of this album,
breaking away from the ultra-personal 'In Your Honour' to
more universal themes and never apologizing for rocking
the way he does.

5. The Weakerthans - Reunion Tour
It's really hard to hate a band from Winnipeg. It's even
harder to hate a hyper-talented band from Winnipeg who
can release albums almost four years apart and still command
such a massive listening audience. Reunion Tour is more
of the same from Stephen Carroll and the lads - vocal and
guitar-driven hooks framed around interesting character-based
lyrics - but still somehow oddly different. That's the magic
of The Weakerthans.

4. Eddie Vedder - Into The Wild Soundtrack
Though I'm not an Eddie fan, my wife asked me to download
this album and its bare-bones creative spool is incredibly hard
to resist. The simplicity of the songwriting makes you
understand the characters of a film without actually seeing
the end product (although I did see it). Songs like 'Rise Up'
pull you into the instrumentally eclectic and ever contemplative
feel of this hats-off creation from Vedder.

3. The Apostle Of Hustle - National Anthem Of Nowhere
I don't know if there is a band as original sounding as The
Apostle, these days, in ALL of music. I'm actually not kidding. I
just got a chance to see these guys live in the Nation's Capital
(that's Ottawa...not Vancouver or Toronto, folks) and they blew
the stage to bits with just three performers. Half Cuban and
Half Canadian, Andrew Whiteman writes songs that harness
latin rhythms and blend them into an indie soundscape. No
matter who you are, Whiteman will have you singing his national
anthem by the end of this disc.

2. Bright Eyes - Cassadaga
My friend Jon Adams can attest to the fact that even my
placing Bright Eyes on a list of favourites is a testament to
Conner Oberst's genius. Determined to hate them from the
get-go, this LP won my soul over and displays the simple,
clairvoyant sounds of a man trying to change his way. The
arrangement is nothing short of epiphanal.

1. Stars - In Our Bedroom After The War
Of course I HAD to end on another album from Arts and
Crafts (that's 4 out of 10 if you're counting. And NO - I do
not work for Arts and Crafts. They are hypnotists. I want
my brain back.) Torq Campbell and the lovely Amy Millan
pull us through the fourth major offering from Stars. Based
on fictional caricatures of a war-torn city, the listener is
drawn into an ethereal world of riots, bomb threats and
people just trying to define their existences. Stars have
managed to take steps where other musicians don't dare
and for that, I salute them. This album does not disappoint
from beginning to end.

2007-12-03T18:31:00.000-08:00

Stars
In Our Bedroom After The War

Lately, it’s been somewhat bothersome to me that many
music reviewers are either washed-up, bitter ex-musicians
or elitist scene-kids. Let’s take a look at a recent review
from Pitchfork by one Ryan Dombal, shall we? This review
charts and graphs the newest offering by Stars (In Our
Bedroom After The War) at a meager 7.4/10. Without
getting too far into the semantics (and the idiocy) of rating
systems in and of themselves, I think it is urgent that we
delve into the currency of the actual review. Without
spoiling the cinematic ending, Dombal’s lengthy review
goes on to basically yawn over the newest Stars album,
criticizing it with containing ‘overt dramatic airs’ and
‘blubbering melodrama’. This is evident right out of the
gate as Dombal claims the title track ‘suffocates under
its own ticker-tape parade epic-ness’. Right. And…you
don’t see any hypocrisy within the very unglamourous
writing of your review, Ryan?

Before any further desecration of Dombal, the actual
album in question needs some simplistic framework with
which to level the critical playing field. Torq Campbell
and Amy Millan have led Stars through four major full
length albums in just under six years. What sets IOBATW
apart from their former works (including the 2004
overnight indie masterpiece ‘Set Yourself On Fire’),
however, is its devotion to theme, plot and character
through all thirteen tracks. The stage is a non-descript,
war torn city that reveals an array of inhabitants who
are all trying to survive and seek the true essence of
their beings. From Torq’s drugged-out prostitute, living
for the pulse of excitement, in ‘Take Me To The Riot’ to
Amy Millan’s optimistic gleam in ‘Today Will Be Better,
I Swear!’, IOBATW is an homage to an all-too familiar
scene that is universally relatable. The splendid and
varied instrumentation is really only the canvas for each
song, splaying everything from horns to driving beats
and airy synths. Although the eccentricity drips from
every piece of album artwork, Stars have released a
work that will rival many forms of art for ages to come.

Any integrity within Dombal’s anti-glitz, anti-Campbell
review is really laid to waste in its length: almost 900
words – all of which utterly contradict what I squeaked
out in half of that. Really? Is this the sum of modern
art and music reviews? Never amazed, luddite writers
who formulate inaccessible, lofty pages of jargon that
an English major will need a dictionary to sift through?
Dombal even goes on to pan Campbell’s acting
background (which he probably googled quickly and
found on IMDB), inserting a jab about a made for TV
movie involving a sea monster and a boy in his early
acting career. What happened to just letting the
listener know what the album is all about? Despite
endless critical fallacy, there really is no substitution
for the genuine article and Torq, though soap-boxy
and breathy at times, sells himself and his band in the
urgency of every lyric of every song on this album. And
so, ending with the words of Dombal himself: ‘as any
Hollywood-type will tell you, an actor is only as good
as his script.’ I guess I’ll shop around for some more
scripts!

2007-11-26T17:38:00.000-08:00

Kevin Drew
Spirit If...

Canadian Indie darling Kevin Drew, bandleader of Broken
Social Scene, offered the first taste of his solo fruits in ‘Spirit
If…’ in late September of 2007. For all of the chaos,
controversy and cacophony that ebbs and flows from the
very core of this ‘super-group’, and that which music critics
love to either salivate or whine over, I believe that despite
a few over-the-toppities, KD has something slickly original
to lend to the ears of his listeners here. The daunting, organic
opening track, Farewell to the Pressure Kids, starts as a
somber mellotron appetizer that breaks its belt into a
whimsical catastrophe of carousel-esque sounds, guitars,
reverb and percussion. It’s almost if KD, himself, is saying
farewell to the pressure of big band life, record executives
and the corporate music scene while delving into something
simpler:

‘Well the pressure kids…they own ashphalt, they won’t roll the die..’.

Despite driveling on himself from time to time, with his
constant stream of consciousness lyrical flow, Drew focuses
well on the two things he loves to write about most: sex and
society. ‘Lucky Ones’ is probably one of the most well
constructed songs that I have heard in years. The simple
opening of a distant, ringing guitar blends perfectly with a
Justin Peroff straight-gunning drum track. In true Kevin
Drew bleeding heart-artist style, lyrical sonnetry, he spills
his guts about the tension of loving someone he is close to:
‘All of your words came down like your spies/Trickled
through the morphine and tried to make a crime/I don’t
expect to suggest that we’re through/You know I can live
without you if you do…’

Aside from a few shiners, though, this album is not a
standout achievement by any stretch. Kevin Drew’s
constant clinging to a teenage era is accented by his constant
musical hero-worship of J Mascis who personally lends
his signature guitar tone to the album single ‘Backed Out
On The…’ The song itself actually lacks originality and almost
sounds like something Mascis himself would have released
in 1991 as a Dinosaur Jr. b-side. Overall, though, ‘Spirit If…’
still begs you to spin it more and more as you let it play
longer in your system. In the end, the good still outweighs
the mediocre and this album sounds different sonically
than most contemporary musical acts of today.

2007-11-15T19:12:00.000-08:00

THE WEAKERTHANS - REUNION TOUR

After a four years album release hiatus, the Weakerthans are back
with more of their splatter-crunch-pop-guitar driven creations to
keep the waiters satisified with their newest offering Reunion Tour.
Being an indie listener, scoundrel and semi music snob, I’ve always
tried to find bands and sounds that identify the dynamic of the
confused, the bereft and the penultimate confusion of this youthful
Canadian independent music generation. After a first listening to
the Weakerthans first major release (following their fist self-release
of Fallow), Left And Leaving in 2000, I was hooked into the
introspective appeal of John K. Samson’s writing style.

Everything from the oddly detailed, stream of consciousness
lyrics of "Everything Must Go" to the chunky, distorted guitar
picking on "Aside", to the hypnotic glow and soothing tones of
"My Favourite Chords" told me that the Weakerthans were
going to be a force to be reckoned with and they were going
to be making music the way they wanted to for quite some time.

Today, that notion proves to be true as 2007 marks their fifth
major and fourth full-length album release. In Reunion Tour,
we find the band hammering away at similar themes (that
usually feature their not-so-fond native city of Winnipeg and
its average-joe habitants), but in the framing of a different
structure. Boasting their most ambient sound to date, guitarist
Stephen Carroll told Uptown magazine this album features
"lots of ambient stuff, tape loops, and some more keyboard
than before". The experimentation bodes heavy from the
opening, swirling guitarish-keyboard loop of the first track
and single from the album, "Civil Twilight".

The Weakerthans, though, are not only about a certain guitar
sound or eclectic instrumentation (although they are known
for transforming odd household items into instruments later
recorded on to songs) as Samson’s ever-intelligent lyricism
shows an infinitesimal grasp of the English language. Samson
has been known to create characters who appear and
re-appear in and out his songs like faces in a recurring dream.
This can be seen in the track "Plea from a Cat Named
Virtue" on the 2003 album Reconstruction Site that relays
the mind ramblings of a shut-in housecat who seeks to find
ways to help her depressed human master. And wouldn’t
you know it, the curious cat actually reappears, in true
Samson style, in the Reunion Tour song
"Virtute the Cat Explains Her Departure".

Though the album has been dubbed thus far by many zines as
forgettable or more of the same, I think it would be unwise to
label it as such without dissecting the raw simplicity and
staying power of a band like the Weakerthans. Most indie
musicians and acts of today have a hard enough time getting
a gig on a Monday night. Amazingly enough though, after not
releasing anything for four years, lyricist Samson somehow
keeps the fan base of the Weakerthans satisfied. His songs
always poke at a brooding darkness of the human condition
but always with the faintest hint of hope, and his band does
an incredible job of crafting hooks and bridges around his
writings. Yes, the themes are similar and sometimes you
think you’ve heard the songs on a previous album. But
ultimately, the listeners and true fans of acts like the
Weakerthans are willing to wait because they know the
substance of the creation will be that much greater.

2007-06-05T14:18:00.000-07:00

Joel Plaskett Emergency - Ashtray Rock

The first time I heard Joel Plaskett's solo work, I was dumbfounded.
Being a Thrush Hermit fan, I was destroyed upon my purchase of
'Clayton Park' when I found out that they were on the verge of breaking
up. I couldn't believe that real rock heroics like that of the Thrush were
still being manifested in modern artists. After purchasing his breakout
solo work 'Down At The Kyhber' in a used record store in Kingston,
though, I took an afternoon nap while listening to the cd in my discman
in '01. The balladry and formations of each song gave me vivid dreams,
and finally, I was awakened to the grand finale of 'Light Of The Moon'
as a beautifully, stripped-down acoustic tune gives way to a an epic
blast of thunderous guitars and drums from the heavens.

Having four major solo works under his belt and having gained major
Canadian exposure (by being a CBC darling), Plaskett is moving into a
new musical conjecture. 'Ashtray Rock' is his newest and perhaps most
highly touted offering with the album immensely produced under the
guidance and work of Mister Big Sugar himself - Gordie Johnson.
ChartAttack and a few other Canadian review zines have
dubbed it as 'Plaskett's breakout album' boasting that it will boost his
status from 'indie' to 'international'. Though I think making claims of this
nature is an act in futility, I think some of the interpretation in the art of
the album, itself, gets lost in the hopes that Joel will finally 'make it'.

'Ashtray Rock' is essentially a concept album in the sense that the songs
deal with three major characters - two guys, who are in a band together,
and a girl they are both in love with. The songs, though, don't list the
details of specific character struggles and plot twists but are instead still
loosely relatable themes for any listener. Though Plaskett mentions
specific names and places (i.e.the hate of 'Clayton Park' - the upscale
suburbia neighbouring downtown Halifax and, oddly enough, the last
Thrush Hermit album title) in the lyrics, the listener can either readily
identify with or flashback to a time when they, too, were 'Drunk
Teenagers' and hangin' out somewhere like 'Ashtray Rock' where they
imagined 'if that lake was beer' or imagined if that huge, boulder-ish 'rock
was hash'. Plaskett pulls off the renaissance of innocence well enough with
his boy-ish voice, embodying a lot of youth with an amazing vocal range,
while delving out some passionate sentiment in the delivery of each
well-produced song.

Though his words are often a little airy and vague, Plaskett's smooth
tones and voice inflection often depict much more than what the actual
words are saying. I'll be honest - Upon my initial listening to this disc,
I wasn't too crazy about how it played out. I even felt more indifferent
to this release than I did to 'La De Da' - JP's 2005 release. At first
hearing, the tracks just seem to be more radio filler than any sort of
expansion or progression. After a few re-listens, though, I definitely
started to hear more craftmanship and artistry in the last few tracks
('"Face Of The Earth", "Nothing More To Say" , "Chinatown/For
The Record" and "The Instrumental") in the wrestling through the
breaking up of a relationship during the winter months and darker
themes. 'Nothing More To Say' is possibly one of the best tracks of
the album dealing with the finality of loss between one of the boys in
the band and the heroine of the story:
'All the leaves are gone, I don't give a f**k /
Let the winter come on, I think I'll try my luck'.
'The Instrumental', though, is more of a teaser, showing some climactic
soundbytes of songs, in rock-operatic form, ending with the words of
the nameless girl character from the story as if it were a voice-over on a
postcard sent as a form of closure to the boys in the band.

For all the symbolism that this album obscurely hints at, though (including
the mentioning of someone who wanted to build a pool beneath the floor
of the high school gym), for the most part, the usual stand-out lyricism
and musical maniacism of Plaskett is lost on this disc. Though there are
a few great songs near the end of this disc (and some really great album
artwork from Rebecca Kraatz - Plaskett's wife), the first half fails to
deliver, offering mainly poppy, radio-friendly sure-fire hits. Sadly,
'Fashionable People' sounds like it could have been a Big Sugar song
which is far from the vein of JP's usual stream-of-consciousness rock.
Anytime a song sounds like less like the musician and more like the
producer...co-inky dink? Hmmm. Unless you're really into
fastforwarding through half of the album you purchase, I would stay
away from 'Ashtray Rock'.

But since this album is all about 'setting the record straight', I feel
the need to speak a little insight and truth. I'm a Joel Plaskett fan and
probably always will be as such. One thing that really annoys me
within the Canadian music scene, though, is this idyllic notion that
if someone isn't breaking into the major markets of the
USA or Overseas, then they are a 'hack' or an indie failure. JP listeners
and fans will always be his fans, not because of his status within any
scene, but because of his commitment and devotion to his craft and
artistry. Having said that, it's even more disheartening when musicians
themselves get into the mindset of 'this has to be my breakout album
or else I'm throwing in the towel'. Unfortunately, with the music scene
in Canada as sparse and as crowded as it is, there is a definite hard
to swallow truth in the defunction of many bands who have worked
to keep things alive but who had to, at some point, get back in their
lifeboats and old dayjobs.

Kudos to Joel for staying in it for as long as he has.

'What do you do when the good's all gone? There's nothing more to say' - J. Plaskett

2007-05-03T18:12:00.000-07:00

Amy Millan Live at the Casbah

'Feels just like another rainy day.'

Though the above pictorial display is not actually from the
show Sarah and I were at last night, it sort of depicts the
view we had - front row centre. Amy Millan did not
disappoint as her soothing, silvery voice glazed the microphone
and left it dripping with some of her 'honey from the tombs'.

From the onset, Sarah and I knew we were in for a treat. After
the loud opener 'The Rest' had finished (and their wall of
sound had finished exploding into itself), Miss Millan took the
stage by herself, claiming her band was 'still busy in the back,
drinking'. She played 'Losin You' and a song off of the very
first Stars cd (from 2003 'Nightsongs') all by her lonesome -
very folksy and quiet. What a cool way to start a show. After
that little intro, her band (who apparently don't have a name
but are now commonly being referred to as 'the dirty strangers')
took the stage and a plethora of instruments were manned
and well-represented. The mandolin player (Dan Whiteley)
was exceptionally fast-fingered and enjoyed himself thoroughly
while playing. The best part about his performance, though,
was the fact that he was late getting to the stage and as Amy
was shouting through the bar, looking for him, a voice boomed
out 'I'm comin! I'm just refilling my prescription!'. Another
awesome instrument wielder was the tall dude beside Amy
who played EVERYTHING from the trombone to the tablesaw.
I would like to know his name...and I would like to recruit his
musical services.

One of the coolest things about this show was the setting - every
other show I had been to at The Casbah (all of which were
Joel Plaskett) was standing room only and very loud. It was
such a different but welcome feel to actually go to a show, sit
at a candlelit table, have a few pints, relax and hear all the
different levels of each individual instrument and voice blending
together sweetly.

Though it sounds like (from this review) everyone who was
there that night was hammered, such was not the case. Amy played
a great set - only about 10 songs or so- and sang each song with
confidence and late-summer comfort in her voice. Any chance
I would get to see her live again, I would take in a cat's meow.
Here's hoping some new material will be 'bringing out the whiskey'
in all of us VERY soon. For any of you who have not picked up
'Honey From The Tombs', I highly recommend you get off your
couch-fitted arse and make it happen.

2007-02-27T18:12:00.000-08:00

Stars - Set Yourself on Fire

"When there is nothing left to burn, you must set yourself on fire."

With the direction of new music, one has to wonder if music is truly
(and has been for a long time) spiralling downward into the realm of
entertainment. Translation: How many more artists can sell out to fit
a mould or model a certain sound so as to make money and hit a target
market?

Now, I'll admit that I know NOTHING about Arts & Crafts Records
and their origins (except that Brendan and Drew from Broken Social
Scene used to be in the band called Hhead and Leslie Feist was in a
By Divine Right video) but dangit all...someone over there in Montreal
has got something RIGHT!

Amy, Torquil, Evan and the rest of Stars have proven this truth with
a fiery album of passion-driven pop that will not lay down and go
quietly into the night. From the the first time audio introduction of my
ear to 'Ageless Beauty', I was a hardcore addict of whatever these folks
were making. Their power pop drive with incredibly ecclectic
instrumentation reminds one of The Rentals (the self-title LP) but with
much more depth and bounty within the content. Apparently,
'Nightsongs' and 'Heart' (their first two full length releases) were so
critically warranted and supported that the cry for this album has been
sounded throughout the country for some time. Having heard neither
album, I can honestly say that from having absorbed this one, I plan to
become a Stars archivist in a massive way.

It should not go without noting that I was somewhat opposed to this
album upon its initial spin, on a drive from St. Catharines to Ottawa, with
my wife and cousin Ben in tow. Ben pleaded that I would like it from the
get go but my experience upon that trip (horrible traffic, incredible
thanksgiving weekend 401 slow downs) largely affected my initial intake.
Sarah had played me a few of their tracks from ITunes but there were
only two on the album that she and I liked. I must admit that my
introductory diagnosis was far from the final destination.

This album was summed up in a recent review as 'robots, sex and death'.
I'm not really gospel on those terms but I see those words as being
thematic emblems of the sound of this album. Robots: The electronic
nature of every song, that though even backgrounded, plays a major role
and makes you feel like someone is playing an Atari 2600 or Coleco
system in the studio. Cool. Sex: Romance and intimacy are very
prevalent, lyrically (seen in songs like 'One More Night' discussing the
unspoken emptiness of fast love), not in a gushy or overbearing format
but with a truthful and resonant spirit. Death: I think what I love most
about this album is that it is not saying nothing like most major releases
these days (Jack White a prime example of someone who constantly
says nothing and gets paid to do so) - it is most definitively about
'something'. Whether that is the end of life as we know it or the problems
of medicine, (evident through their promotion of doctors without borders)
Stars don't annoy with their stances but only wish to have their ideas
staged upon a brilliant base of exploratory and warming sound beneath.

The title track 'Set Yourself On Fire' is a grand indication of this band's
talent - it starts slow and reels you in but then throttles you into a
full-speed ahead, bass-driven pop ballad. The crystally bright electric
guitar sound gained my trust all through the entirety of this disc and it
never let me down once. In a recent review on BWC, some critic made
some remarks about an ArcadeFire review and that the reviewer did not
'give the album enough time to ruminate and sink in' or something
horse-manurish like that. Even though that can't always happen as
reviewers must meet deadlines and put food on their tables, it is nice
to have the time to do so when you can. This album was something
that required rumination...and the end result won me over.

So many people told me that even after the 'Ottawa drive with cousin Ben'
incident that I still needed to give this album another chance...and so many
people were right. This is the best rock/pop album that I have had the
pleasure of being acquainted with...probably ever.

10/10

2007-01-12T15:25:00.000-08:00

Matt Mays
When The Angels Make Contact
(released Dec.14/2006)
Reviewer: MM

'The future fades, your minutes are few
When the angels make contact with you'

Thus rings the emblematic chorus of the title track of Matt Mays'
newest pet project/brainchild but before we get into the album in
question, it is important that we backpedal to gain a greater
perspective. After the release of Matt Mays & El Torpedo's self
titled debut, the struggle between indie rocker and national star status
was becoming quite evident for Mays. Even in a few songs on the
debut (namely 'On The Hood') it was clear that Matt was striving
to find the balance between a normal, fun-loving guy with a lot of
friends and a musician gaining national exposure and success. The
dilemma lingered and all of his fans, though optimistic about his
genuine spirit, knew full well that musicians don't always take the
path of genuity within the realm of music.

Well, it's just over a year and a bit later and a path has been chosen.

As if Matt Mays couldn't be cool enough - but NO, he had to go
and record an eighteen track monster of an album based on an
INDEPENDENT FILM he was making with his friends entitled
'When The Angels Make Contact' (you can read about it at
whentheangelsmakecontact.com) that never got made due to budget
restraints...wow! I guess it is clear that he has chosen a path.
Breaking new ground and moving away from his alt. rock/folk style,
Mays clearly shows that he is a pioneer of the Canadian music
scene and is not afraid to cut through new terrain. Though it is
being dubbed a solo project, most of his band (El Torpedo) makes
their way on to this record in one form or another. This long-time
side-project is also littered with guest appearances adding a
definite accent (even in the form of a guest rap appearance by
Buck 65, the Halifax native and long-time cronie of Mays' hometown)
and flair, taking this album far beyond the realm of ordinary.

It is almost as if the film for this soundtrack didn't even need to
be made as one gets an obvious sense of the tension and
character journeys involved in the storyline just from the music
and words. This can especially be seen in track 4 ('1 For The
Motor') which tells the tale of the main character of the film whose
journey begins when he finds a dead motorcyclist on the side
of the highway. The ex-police officer, seeing that the man has
obviously been deceased for some time, decides to take the
motorcycle for a bit of a joyride on a path of self-discovery
after having a long, hard life. The cryptic, naturalistic acoustic
guitar, accented with a heavily reverbed piano, paints the picture
for the crux of the main character in the chorus:'1 for the Motor /
2 for the cycle / 3 for the destination / 4 for the mornin' /
5 for the drive'.

The greatest thing about Mays' artistic genius is that even
though he is verging into new ambience and atmospheric
sounds on this disc, the core of his style remains true in his
songwriting. His inescapably distinct and raspy voice lets the
listener know they are still being led by the same guy from the
last album. The recording and production of this album alone
are a whole other issue which could be expounded upon in
encyclopedic fashion, I'm sure - suffice it to say that the overall
sound and feelof this album has an 'empty room/echoey' wash
that must have taken months to perfect. In all honesty, I wasn't
even sure I wanted to pick this album up when I saw it at the
record store. Don't get me wrong - I loved Matt's first two
works and made most of those songs permanent residents in my
head but I just had a bad feeling about his third major release.
The only downside to the album would be an excessive use of
audio clips between songs that put a little too much emphasis on
the non-existent film. There is also somewhat of a lag that happens
near the final tracks but honestly, it is nowhere near enough to
stop the listener from going back to track one to hear the story
all over again. Overall, though, I am definitely glad I nabbed this
one off the rack and one can only hope that the angels will continue
to make contact with Matt Mays and inspire him to release
monumental works of this nature. 9.5/10

2006-10-11T07:51:00.000-07:00

Sloan: NEVER HEAR THE END OF IT-
The Truth Is In The Title
Reviewer: MM

About 2 weeks ago, on my birthday actually, I purchased the newest
Sloan album 'Never Hear The End Of It' as I was alerted via a mutual
myspace friend that the album was, in fact, out after a long array of
speculation and rumour. For 12.99 at the capitalist monster Best Buy,
I picked up the new 30 song disc with much fear and anticipation of
great things. So with the miracle of a birthday candle-cake wish, I
was not disappointed. The title of this album has more truth to it
than you would think, in the sense that I bought it on the 23rd...
and I literally JUST heard the end of a it a few days ago.

I think what irked me most about Sloan's last few albums (Action Pact
and Pretty Together) was a sense of pride versus popularity; Though
their distinctive sound was still there in many noticeable forms, Sloan
were starting to break out from the middle ground of many mid-range
bands and their material seemed to be progressing, in terms of studio
production and mastering, but lackening in terms of intellectual depth,
lyrical topics and witty punchlines and choruses. Before I begin the
current review, however, I am feeling the need to become a little
tangential with some much needed background knowledge concerning
my connection with Sloan. For years, one of my best friends Jeff
listened to Sloan from their earliest beginnings (I believe even before
Sloan was Sloan and were called Kearney Lake Road) and raved not
only about the musical talent and depth of the band but the richly
diverse and unique singing and writing styles among the four members.
Jeff's long time allegiance to Sloan goes deeper than most, even before
their earliest slated release of the Peppermint EP and I really only have
him to thank for introducing me to the wonder, artistry and the
monstrosity of this band. But again, before we move forward to the
review, perhaps we should make a lateral move to give a little more
background of what's going on here.

Sloan is four members. You see, there's Chris, Patrick, Jay and Andrew.
Chris is the stage showman, funnyman and usually the most prevalent
songwriter on any given album (and NHTEOI is no exception). He has
a penchant for excellent rhythmic basswork, high range vocalizing,
losing his glasses on stage several times during a show and playing
'wild animal' drums for Andrew's songs. Chris's songs have been
described as 'potboilers' - whatever is happening, he throws a wrench
into either through his high-range breakout vocalization or his wild
drumming and stage antics. Though he does have a contemplative
side, Chris is best seen as a livewire rocker who propels the motion
of Sloan through his multi-pronged songs and ever-creative
harmonies. Patrick has the sound of a leather jacket motorcycle rocker
who loves his wa pedal and loudly distorted driving guitars but still
shows a mellow tamer side. Patrick's songs usually get more radioplay
than any other member's songs because they are short, rocky, catchy
and kick-ass. Now we shoot the gap from 'classic rock' to 'indie weird'
where Jay is the bridge. Jay is not only a different style of songwriter
than Chris and Patrick in his high 'Monkees' style pop-ballad vocal
inflection but representationally, he is the other side of Sloan. Jay has
written and recorded songs for Sloan that could be classified in an
array of different styles, from disco to crooning to retro rock to even
metal. His vocals are the easiest to identify and perhaps the most
soothing of the group. Jay, in a radio interview from CBC that my
friend Jeff had taped, was described by Chris Murphy as being the
one in the band whose idea of a romantic evening would be 'sitting
cross-legged, on a throw rug, listening to old 45 records and eating
jellybeans'. Finally, we shoot the gap and arrive at Andrew. Andrew's
songwriting is the most distinctly separate from the rest of the band
but perhaps the most prolifically grandiose. Aside from being an
excellent drummer, he also has a tendency towards certain lyrical
themes throughout a given set of songs, mainly in the genres of
Nautical, Aviation, Cinema and Track and Field. Andrew loves
wordplay, a good wailing distorted guitar solo through his vintage
hollowbody, and forcing Chris Murphy to play the drums in a zone
that is far beyond his trap-hitting abilities. The funny thing is that
Chris, being a secondary drummer, is still a better drummer than
most bands' lead drummers. Can we say 'Talent' boys and girls?

From Track 1 of the new album, my ears were alight with a retro rock
organ playing amidst a feel good tune called 'Flying High Again'. The
song is not only groovy in its feel and classic intermittent signature
harmonies, but one also would get the picture from the words that the
band is really united again and doing what they love in a refreshed and
vitalized form and they really don't care what anyone thinks; "We're
Flying High...and some people think we're crazy". Ironically, Chris, Andy,
Patrick and Jay all contribute a verse vocally giving a real sense of unity
within Sloan. Track 2 picks right up with the slam-bam, arena-rock
anthem 'Who Taught You To Live Like That' strangely sung by Jay
who usually sticks to the more sentimental poppy tunes. 'Listen To The
Radio' shows a softer, more sedate side of Patrick, waxing eloquent about
the weird world of the radio airwaves that is both exciting and lonely all
at the same time. 'Fading Into Obscurity' is a multi-faceted Chris Murphy
track that die hard Sloan fans have been waiting on for a long, long while.
It shows his lyrical prowess but also his musical mastery, as the visible
band leader, in all the separate pieces that form the whole of the song. I
will pick up more on that song in a moment, but for the most part, this
album is a fresh fish in a pond that was starting to lose my interest. The
only downfall would probably be the fact that this could have been an
album of about 20-23 amazingly crafted songs but there were a few in the
middle that began to lose me. Overall though, I cannot deny the newly
found joy of this disc. I would recommend to any of my friends, whether
Sloan fans or not, to pick it up and give it a spin. It's not a perfect
score, but pretty close. 9/10

ODDLY ENOUGH, I just saw Sloan live last night in St. Catharines, my
hometown. That's right. They played a show last night. Sloan. The
band I just reviewed. No one really seemed to know about it as there were
less than 100 people there, but with a drummer friend of mine (Robbie) who
is doing his own music stuff these days, and myself as somewhat of a
musician in the crowd, we stood and watched like students in a class of
our favourite teachers. Though they were a little more reserved than I have
seen them in the past, they still know how to rock hard. The show wasn't
amazing - it wasn't the best I've seen them play but it also wasn't the worst
- It was Sloan. Just a few lads from Halifax who vowed long ago not to
sell out to David Geffen's enterprise and become 'the Canadian Nirvana'
but to stay true to their sound, their style and their audience. Talking to
Chris Murphy after the show, who Robbie has become fast friends with
and whose name even got dropped during the last song ('my boy Robbie
from Tin Bangs'), we discussed some Halifax connections but also the
annoyance of playing shows in Southwestern Ontario. Chris said jokingly
'Like, what the hell is that about? An hour away from our home town
(Toronto) and less than a hundred people show up? I guess that's it.
I guess we're done.' Chris digressed, however, and did make mention of
the promise of at least a solid group of fans and good peeps staying to
talk after the show, and the notion that these are the kind of fans he
wants to buy their records have at their shows. To be sure, Us Sloaners
do not want to see our band fade into obscurity, as Chris's song
might suggest, but to Fly High Again.

They played mostly new material, which was nice, but I was still hoping
for some Andrew mammoths like 'Sensory Deprivation' and old live classics
like 'I Am The Cancer' but alas, it was not the night for such activities.
I also enjoyed the accent of the newest member, Greg MacDonald, who
added various keys, vocals and percussive strokes of brilliance to the
already sparkling sound. Sloan's fifth member seems to be fitting in
just fine.

Earlier yesterday, and by random chance, I saw Sloan's tour bus pull up to
the L3 liquid lounge on my lunch break. Their manager Mike stepped off the
bus and seemed aloof, trying to get into the obviously locked bar. I talked
to him for a few moments, inquiring how to get tickets and possibly giving
him one of my cd's at the show which interested him, but I did not have an
opportunity to do as such last night. The whole scene of events - the bus,
the actual show - seemed like it didn't really happen. This sleepy Niagara
town really has little or no scene, and last night was a confirmation of that
truth. As a straggler outside the bar said truthfully before the show "You
see, a good band like Sloan comes to this town and no one shows UP!" It
also makes me feel a little more human to see a band who has
been doing their thing nationally for 15 years make a miss once in a while.
They've been around, though, and I'm sure they've survived much worse
than a small fan showing at one little stop on a tour. Hopefully, though,
for the real Sloan fan in all of us, and for the prosperity
of a good band, we really will 'Never Hear The End Of It'.

2006-09-12T10:11:00.000-07:00

Check out this sweet ass writer who writes for 'The Hits'
and his recent book review. Andy J, you spark my inner
glory. Also, read the book. I haven't yet but I will.

CLICK IT AND CHECK IT

2006-08-10T19:26:00.000-07:00

Underoath - DEFINE THE GREAT LINE

Reviewer: ABay

It is invariably the case that a band’s music evolves over the course of time. Some bands’ sound changes more than others, but if there is a band that has kept the exact same sound for their entire career, I am unaware of them. Usually, a band’s musical evolution continues with each album release. This is the case with Underoath.

With their new release, Define the Great Line, Underoath has added a new chapter to their musical evolution. Underoath has always had a unique, and ever-changing, sound. Their album, The Changing of Times, could have been more appropriately named The Changing of Underoath’s Music, because this is what has defined their career. Each Underoath release has been unique in sound. The Changing of Times was a blend of dark metal-influenced guitar riffs and piercing vocals that can only be described as dark. Their release, They’re Only Chasing Safety, which preceded DTGL, was a huge jump from their first album. The sophomore release had great appeal among hardcore circles because of the perfect balance between screams and clean vocals, along with energetic guitar breakdowns. DTGL lacks much of the hardcore feel that made TOCS so popular. The hardcore feel is replaced with a more new metal feel…but with screams.

Though there is a big musical difference between TOCS and DTGL, there is one similarity found in the two albums: a unique sound. Having a unique sound is one of the most important things for a hardcore or metal band, as far as I’m concerned, simply because it is so easy for bands of these genres to just sound the same as all the rest. But Underoath will not settle for sounding the same as all the rest. If somebody were to ask me what band Underoath sounded like, I would think for a very long time, as I have done before, and after this long period of deep thought I would come up with an “I don’t know”. Underoath’s sound, as ever-changing as it is, is too unique to compare other bands against. This is one of the things that I like best about Underoath. It also means they are finding their own niche, if you will, in the world of music - a changing niche, but still a niche.

Having said this, I feel with DTGL, Underoath has taken a step backward. DTGL just doesn’t have the energy that is so evident when one listens to Underoath’s previous album. DTGL lacks pounding breakdowns and creative guitar riffs are few in far between compared to TOCS. The perfect blend of clean and screaming vocals are, surprisingly, nowhere to be found. DTGL is still a unique hardcore/metal sound, it’s just not as unique or innovative as TOCS.

Unfortunately, this time Underoath has changed their music for the worse. Mostly everything that made TOCS such a great listen is not big part of DTGL. To Underoath’s credit, some parts of this album are a downright pleasure to listen to…but most of it is not. The mark of a good album is that there are no songs that need to be skipped over. Unlike their previous album, Underoath’s latest release has a few songs that are destined to be skipped over by listeners frequently.

For continuing their musical evolution and keeping a unique sound, I say to Underoath, rock on. For evolving their music from a great hardcore sound into something that could very well be buried in CD piles and forgotten about, I say 2/5 for Underoath’s Define the Great Line.

2006-07-18T12:51:00.000-07:00

THE NEW AMSTERDAMS
STORY LIKE A SCAR
REVIEWER: MM

There was this guy from Camp IAWAH who I really got along with well.
We gelled. He only worked there for one summer. His name was Keith,
but more affectionately, he was known as Dr. Nye as he was really into
Science. Anyways, when he first told me about the Get Up Kids, I really
wanted to like them - because I thought Keith was a cool guy - but I couldn't.
Something just grained on me about Matt Pryor's whiny voice.
And now, here I am, almost 6 years after the fact, writing a review on The New
Amsterdams - an undercurrent side project of Pryor's for years and now his
main focus with the end of the Get up Kids. (I did become a Get Up fan, just
so ya know.)

From the opening, haunting melody of 'Death Of Us', Pryor establishes himself
as someone who has played the indie scene, but who has wizened with time.
The tune of it almost makes you want to watch a Clint Eastwood western as the
subtle harmonica and acoustic guitar laze along through a myriad ghost town of
relationship struggle-based lyrics. And so I listened on, flowing right into the second
and most popular track from the record 'Turn Out The Lights', showing a deeper
and subtler sensitive side of Pryor - sort of melanchoic and reflective but still
somehow upbeat with a few handclaps and the hope for connection in the lines -
'I've been wrong but it's alright / There've been long and lonely nights /
I was lost till I found you / Turn out the light, I'll stay if you want me to'

What impressed me was also TNA's ability to waver into some harder, more
electric songs like 'Bad Liar' and 'Past The Pines' that showed to be fairly short
in length, but still power-packed with some distortion and emotional/passionate
vocalizing. Pryor has an uncanny ability to make seemingly simple lyrics cover several
layers of symbolic reference, mainly in the area of failed friends and lovers.
This shows clearly in 'Bad Liar' in the idea of letting bygones be bygones
and how an image of someone is not necessarily who they are:
'Let's call it off, let's take the memories and run /
I'll be the villain, the man with the smoking gun /
I guess this is goodbye So have a nice life /
See you at the replay lounge'.

Keeping true to Pryor's musical style, the feel of this album is a little downtrodden
but still mysteriously upbeat and optimistic as many of the songs have a real
'live off the floor' type sound, without excessive layering, making you feel
like the band had a hoot of a time recording this work. Probably the most
outstanding song to me, of Story Like A Scar, is 'A Small Crusade'. This work is
probably one of Pryor's most achieving and stretching, both musically
and lyrically (again, simplicity masking complexity) as you get the feel of
the songwriter wandering through fields, on a journey of many kinds, to
discover his true essence of self, away from the influences of
people and organized religion:
'You're always a pilgrim leading a small crusade to find the essential
not a missionary or a guidethe past is part of this to cast aside'.

Though I need to give this album a definite few more listens before I've
made up my mind, I think for all of Pryor's genius, the listener is somewhat
left hanging and wanting more. Sure, the reprise of 'Turn Out The Lights'
is fun and catchy like a gospel choir singing old school Jesus-by-the-river
hymns, but it's not enough to earmark the whole story that is, in fact, like
a scar. Plus, with only nine songs (ten if you count the reprise), one wonders
what was left on the cutting room floor and why we couldn't hear the 'whole'
story. 7/10

2006-07-16T05:40:00.000-07:00

THE ARCTIC MONKEYS-
WHATEVER YOU SAY I AM,
THAT'S WHAT I'M NOT
REVIEWER: JONDOGS

Catchy. Pop-punk. Teenagers. The "Next Big British Band".

Normally, using those words to describe a band would make me
want to vomit into a plastic grocery bag. But in this case, The Arctic
Monkeys manage to make it all work.

I first heard about the Monkeys from a radio DJ who mentioned
them in passing. He hailed them as the next big thing to invade
the US from England, but in truth I gave the comments no
further thought.

However, one day while driving to work I heard a particular song
on the radio. It had all the elements of greatness- it was well
written lyrically, exceptionally clever actually, and it contained
enough edge to lay outside the lines of the black hole of pop music.

I knew it was the Monkeys before the station could confirm my
excitement. That night, I went and spent the 12 dollars to make the
Monkeys my own.

Now, let me be clear on something. This is not a 'home-run' album
by any stretch of the imagination. There are some tracks that
these guys certainly do sound like a bunch of teenagers whaling on
their guitars.

But Alex Turner manages to write his lyrics with a wisdom that is
well beyond his years. He is insightful and weaves his lyrics together
with clever storytelling and simple rhymes, which work together with
some undeniably great riffs.

Turner has some fun in the song "Mardy Bum", about a relationship gone bad.

now then Mardy Bum, i've seen your frown and it's like looking down
the barrel of a gun, and it goes off,
and out come all these words, oh there's a very pleasant side to you,
a side I much prefer

In "Riot Van" Turner tells his tale of a run in with the police, while in
"When the Sun Goes Down" he tells of prostitution in the streets of his
hometown.

Turner and the Monkeys do sing about some heavy topics, but they
manage to tell the story in a light-hearted way, using their talents to
make their debut album more than worth the 12 bones it takes to pick it up.

Are the monkeys the next big thing to come out of England? To be
frank, I don't care, because it's summer and this album is fun, with tracks
to take us through the good times like "I bet you look good on the dance
floor" and "Red Light indicates doors are secured".

My suggestion? Pick the Arctic Monkeys debut album "Whatever You
Say I Am, That's What I'm Not", and throw it on while you're hanging out
with friends, or driving to work on a nice day. It'll make everything seem
a little easier.

-Jon

2006-07-12T14:28:00.000-07:00

REVIEW BY BWIL: THOM YORKE - THE ERASER

Everytime a new Radiohead album comes out I get pumped up for the week before where I proceed to take out the right money from the bank for it, listen to the previous albums in order that week, and make sure I'm out front of the cd store as soon as it opens and rush in to buy it as soon as possible. I wouldn't say I'm a die hard Radiohead fan, (I've never seen them in concert, I don't own any t-shirts, I wouldn't drink Thom Yorkes urine) but I would definately say I'm in it for the music. I enjoy all their albums, and can't say I have a favourite or that any of them suck, which most may come to expect. But when I heard the vocal genius was doing a solo album, I got to feel the rush I haven't felt since Hail to the Theif.
The fact that Yorke doesn't play the irrational rock star game is part of the basis of the appeal. I knew this wouldn't be some crap attempt to go off on one's own to see if the rest of the band is the reason for one's success (*cough cough Beyonce, Billy Corgan [sorry Mat]), Edwin from I Mother Earth, the list goes on). And the brilliance of this album came at a great time. On the cusp of Radiohead's next release (for 2007) and this "blog" revolution.
Spin Magazine described it as a "blog with beats" which can totally relate as Yorke has his own blog to spill his beans in which his personal thoughts are relatable to Eraser.

"The more you try to erase me, the more that I appear/The more I try to erase you, the more that you appear."

So I definately recommend picking up this piece of art. It's Yorke's prog rock on a whole new level. It's short. It's sweet. It's brilliant.

2006-07-04T18:41:00.000-07:00

Tuesday July 4/2006 (Happy birthday to America and my little brother Benjamin Keith Johnson)
Artist: David Bazan
Album/Concert: Fewer Moving Parts
Reviewer: AJ

For a long time now, David Bazan has been pushing the boundaries of thoughtful indie rock.

With his best-known project, Pedro the Lion, he won legions of fans both inside and out of the Christian community. That band developed from what seemed to be obviously spiritual beginnings, but the lines have blurred incredibly over 10 years and half a dozen albums, leaving many religious fans scratching their heads in wonder about the PTL enigma.

“I believe in God and the Bible and everything, but I ain’t no fucking Christian,” Bazan once said during a show at Toronto’s Horseshow Tavern, raising more than a few eyebrows among the mostly non-drinking, Christian crowd.

Then there was the Paperback side project, another album or two from Pedro, then the Headphones experiment that left guitars behind and focused on keyboards and vocals.

And now, Bazan has stripped it all down, releasing and touring on his new EP, Fewer
Moving Parts, as a solo, acoustic act.

I’m past being worried when Bazan takes a turn like this. There’s a quiet confidence among long-time fans that whatever he puts his hand to will somehow turn to gold.

FMP is no exception, Bazan proved during a Saturday night performance in Toronto.

Playing in a small church to a sit-down crowd, he played 90 minutes of new stuff mixed with standard favourites from PTL and Headphones, mixing in his now-famous Q and A sessions between songs, answering queries with an understated honesty that has become his trademark.

Control’s Priests and Paramedics and Indian Summer, Achilles Heel’s I Do, Transcontinental and The Devil is Beating His Wife, rounded out the new numbers, including Fewer Broken Pieces, Cold Beer and Cigarettes, Selling Advertising, How I Remember and Backwoods Nation.

When I first began listening to Pedro years ago, the apparently honest, genuine songwriting tricked me into thinking every song was somehow a personal exposition on Bazan’s life. I was a little disheartened to eventually learn that his trick is to put himself in the place of a character, try to get in their head, and write from that perspective.

Once I got over the disappointment I was, and still am, awed by his ability to do this so convincingly. I Do, which describes the regret of marriage and parenthood in an almost sinister fashion, is a perfect example of this.

When his tiny head emerged
from blood and folds of skin
I thought to myself
If he only knew, he would climb right back in

And that transitions to:

Now that my blushing bride has done what she was born to do
Its time to bury dreams and raise a son to live vicariously through
The sperm swims for the egg
The finger for the ring
If I could take one back
I know what it would be
I do, I do, I do.

Like much of the PTL songbook it’s dark and brooding and full of deep regret – but at the same time it’s poignant, beautiful and somehow almost holy. He once told me after a show that that song explores a moment of doubt, or regret, fear or uncertainty, that he and his wife have both felt at various points in their relationship. But it’s not a description of how he feels about his wife or daughter – whom he seems to love dearly.

However, if there’s a song on FMP that has autobiographical content, it has to be Fewer Broken Pieces.

The song explores the nature of maintaining control at all costs, being a disappointment to friends, being proud and hurting the people around you.

“Fewer moving parts mean fewer broken pieces
When every other start requires a brand new thesis.
One good friend remarks with a rightfully angry ‘Jesus dude, none of us know what to do with you.’
And I in my pride responded, ‘I’ve got news for you, none of you have to,’
‘Cus I still run the show, and don’t you forget it.
So I have to let some go. Don’t think I don’t regret it,
‘Cus I do, and I don’t, think I’m better off alone.

It’s easy to picture Tim Walsh, formerly of PTL, saying those words to Bazan, expressing frustration at the decision to put the band on hold, or maybe kill it all together, leaving a committed, contributing member and old friend to find another way to pay the bills.

The song must be an illustration of one of Bazan’s own weaknesses – a window into something he’s struggled with over the past year or two. I’m convinced of it. But then again, it’s a measure of his brilliance that even now, as I write these words, I know I just might be way off.

Like always, he’s keeping people guessing with a mixture of brutal honesty and creative momentum that makes him impossible to pigeonhole. And somehow in the midst of all that, the music just keeps getting better, and I can’t wait to see what’s next.

2006-06-16T05:17:00.000-07:00

Friday June 16/2006 (Happy B-day B-Wil)
Artist: Matt Mays
Album: Matt Mays and El Torpedo
Reviewer: Graven

I must say that Halifax has always been a place that has drawn me,
both physically and mentally, and if given the chance and the right
indicators, I would move there with my wife and take up lodging by the harbour.
That being said, I have a certain well-known bias for a certain sound that
eminates from that area with Matt Mays being a key contributor. Having
just recently picked up his first full length cd, I have a sweet taste for the
tunes that Matt Mays pumps out and this full length self-title with his new
band El Torpedo has won a lot of acclaim, both Canadian and internationally.
The songs are guitar-based and mellow rock driven, and occasionally
remind you of a young Tom Petty, but Mays has very much his own vocal
style - usually raspy but always full of passion and well-spoken. Like
a lot of Halifax rockstyle music, the meat is not only in the music but
in the words.

Mays is very 'hip to this jive' as his words always describe a personal
setting but in a very common form that all can appreciate - from the strum
first rangy, distorted chord of 'Stand Down at Sundown' , we are taken on
a journey into a world where you learn to 'get yourself gone...from now on'.
Obviously toting some heavy relationship woes, Mays wanders through
a landscape of sort of 'figuring things out' on a grand scheme, and with
the picture in the layout of the album, one can sense that he is someone
who draws alot of his energy and drive from nature. Mays also displays
an ability to 'rock out' with the pop hit 'Cocaine Cowgirl', portraying a serious
undercurrent and story of a tortured girl but with intense instrumentation
and fast drumming.Tracks like 'Good People' also bring us to an apex of
realization and strength, as we can sit back and realize the more important
things of life and not get so caught up in the fray of everything invalid and
shallow.

This album also shows a few real human struggles as Mays battles with his
indie to spotlight status in the song 'On The Hood' as he talks about
wanting to just hang out with his friends and his girlfriend rather than
worry about his image, radioplay, public profiling and everything else
that gets attached to celebrity status. A good listen overall, though one
of my lame-music taste friends at work actually calls this album bland,
but I think it is really HE who is bland, but I can understand that there
are a few lulls in the slower tracks, but really, Matt Mays is doing what
he is most gifted at what he loves to do so how could we want it any
different. The rich instrumentation of pedal steel, guitars - both acoustic
and electric - and soundscape vocals makes you beg for more.9/10.

2006-06-14T13:37:00.000-07:00

REVIEW BY BWIL: SUFJAN STEVENS - THE AVALANCHE: OUTTAKES AND EXTRAS FROM THE ILLINOIS ALBUM....

So, I as a poor student, have resorted to ripping off music from the internet, and before we get into the moral dilemma of how horribly wrong that is, let us take some time to review a cd that, well, just isn't out yet. Sufjan Stevens has already produced albums with brilliance and vigour of someone twice his age. Stevens' Illinois album struck a chord with me for being one of his best yet. And for there to be almost a "part two" if you will (and i think you will) for his latest makes me as giddy as a school girl, on speed, at the fair, eating cotton candy.... you get the picture. Not to mention the fact that there are three brilliant versions of "Chicago", one of my favourites from the previous album. Versions include a mellow “acoustic” version, a swooning “adult contemporary easy listening“ version and a static “multiple personality disorder“ version.

Once again, in "soofyan" style, as I like to call it, his songs have the long titles to match long heart-felt songs. And the more exciting, good walking songs, like "Dear Mr. Supercomputer" add to this album the elation that I felt for Illinois. As well the title track “The Avalanche” (the bonus track on the Illinois vinyl) has to be one of my favourites, bringing back banjo/piano solos and brilliant lyrics that lead me to believe that Sufjan outdoes his father Cat many times over. (Don’t hate me for that, it’s just how I feel).

So, as the release date for this album is over a month away (July 25th to be exact), I very much recommend picking it up when it does come out. And for those of you who decide they can’t wait… feel free to download and enjoy before you purchase.

For my man Sufjan, a 10/10.

2006-06-14T06:00:00.000-07:00

SONGS FOR THE HEARING
Queens of The Stone Age
Lullabies to Paralyze

The masters of modern metal are back at it, even after
such an impossible act to follow like the heavily-touted
'Songs For The Deaf' wherein the old drummer from one of
the last 2 decades' most pivotal and popular bands, laid
the rhythm tracks for the album in its entirety and toured
with them. Impossible to follow? Debatable.

In a departure from riding on the coat tails of Dave Grohl
(the afforementioned drummer and now lead brain of the Foo Fighters),
Josh Homme of QOTSA has come into his own realm as a
songwriter and musical creator in this LP. In order to do so,
he had to fire the old bassist, let Dave go back to being Foo-ed,
and head out on his own path. The result is a little bit
puzzling at times as it seems that Mr. Homme is stuck in a
sort of 'high-school-metal-experimental-garage-band 'writing
zone with lengthy tracks like 'Someone's In The Wolf' and
'The Blood is Love'. But the truth is, most of it still rocks ass.
With a penchant for a new faster, catchier edge, songs like
'In My Head' and 'Everybody Knows That You're Insane' display
the instumental talent (lots of rhythmic tricks, stops, starts,
and things to keep you guessing) of the band and keep you
humming the melody hours after you've heard it. These songs
and 'Little Sister' (which pales in comparison to a lot of other
songs from this album) are showing a maturity of Mr. Homme
who seems to stepping away from the arena of 'kill-em-all' metal
and into a more reflective, intelligent songwriting style.

But fear not ye metalheads because Homme definitely does not
depart from the realms of his ever-haunting but captivating vocal
melodies and insanely cacaphonic, yet masterfully orchestrated,
ear-splitting guitar riffs. There's lots of that good stuff to go round,
and not really being a metal fan, myself, I can really appreciate
this album's complexity. The only area which could still use some
development is Homme's lyrics which seem to be a little too
caught up in 'the girl that went wrong and screwed me over' scenario,
but hey, I don't know his life. And no matter how criticized his lyrics
may be, they are still easy to relate to -anyone who's ever
struggled with letting go and moving on from a failed relationship
will appreciate the climactic juxtaposition in'Tangled Up In Plaid':
I could keep you all for myself / I know You gotta be free /
So free yourself.So do free yourself, in fact, and your ears to a new
age - The Queensof the Stone Age. Well done, chaps. 9/10.

2006-06-14T05:31:00.000-07:00

The Preface
So the idea behind this new idea is to combine some review writing
talent that is in my extended network and filter it into one source
that will gain wealth, fame, public attention and critical leverage
amongst all who matter in this life.

Well...probably truthfully none of that, but at least we'll get to say
a lot of STUPID CRAP and people will read and LOVE it.

Enjoy as the hits just KEEP on COMIN'......